psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present

:Episode Eighty-Two: 11.10.2017

Artist Title Album
GOATTalk To God (Live)Fuzzed In Europe
Angel OlsenSweet DreamsPhases
Tracy BryantThe GraveA Place For Nothing And Everything In Its Place
Bobb TrimbleWhen The Raven CallsIron Curtain Innocence
John MausOver PhantomScreen Memories
Gary WilsonChrome LoverForgotten Lovers
MenimalsIn This Unforgiving HeatMenimals
Zimpel/ZiolekMemory DomeZimpel/Ziolek
Gregg KowalskyMaliblue Dream SequenceL'Orange L'Orange
Dawn PeopleEurybathThe Star Is Your Future
Geoffrey Landers1 By 11 By 1
Acid Mothers Temple & The Melting Paraiso UFOAnthem Of The Outer SpaceWandering The Outer Space
CB3From Nothing To EternityFrom Nothing To Eternity
Suzanne Ciani"Help, Help, The Globolinks!" OSTPart I
Listen at House of Sound

 

Description

The first set this week, after a new live track from Sweden's GOAT, is given over entirely to singer/songwriters, namely Angel Olsen, Tracy Bryant, Bobb Trimble (who I played because of Tracy Bryant's resemblance to him, intentional or not), John Maus, and weird old Gary Wilson. When I lived in NYC, I went to the premiere of You Think You Really Know Me: The Gary Wilson Story (a pretty decent documentary that's long out of print on DVD and not available for streaming anywhere as far as I can tell) and after the screening saw the reclusive Mr. Wilson himself, appropriately enough, standing alone in a rear corner of the theater.

In the show's middle set we hear from Gregg Kowalsky, of Date Palms, with a track from his new solo album L'Orange L'Orange, which of late has become my go-to reading music, a role that over the years has been held by, among others, Miles Davis's Sketches of Spain (in high school), Boards of Canada's Music Has The Right To Children (in college) and William Basinski's Disintegration Loops (in grad school).

Leading off the final set, I play what I presume must be Acid Mothers Temple's sequel to their Anthem of the Space, which I played several episodes back: Anthem of the Outer Space (it's even further out than just space, see). And then I end with Suzanne Ciani's recently reissued soundtrack to the children's operetta (how many people can say they've scored an operetta, let alone one made for children?) Help, Help, The Globolinks!