Anthony Braxton- 3 Compositions of New Jazz [1968]

A friend of mine once astutely noted that Anthony Braxton was the Modern Classical equivalent of the jazz world (which would make Art Tatum the Classical Era equivalent, if you enjoy extending analogies too far).  Graphical notation and a penchant for unique instrumental combinations that lead to slanted, atonal eddies of sound adequately sums up most of Braxton’s career, although such a superficial description is a disservice to the iconoclast.  His first release before the solo improvisational For Alto, 3 Compositions of New Jazz finds Braxton arriving at the logical conclusion of the then blossoming free jazz movement.  Ditching the archetypal rhythm section for the occasional expressionist drumming and atmospheric accoutrements, Braxton and his fellow musicians create a complex web of conversation amongst one another.  The indecipherably named first track revolves around the lovely vocal melody laid out at the beginning of the record, yet quickly spirals into a display of raw instrumentation and interplay.  Braxton’s music is as free as free jazz can get, yet still possesses the mathematical intricacy of the Modern Classical music he often cited as influence.  But don’t be misled: Braxton’s jazz is still visceral and mysterious in its outré display of emotion.  Much like his cryptic composition names, this music possesses depth that reveals itself only after intense scrutiny, and even then still might come off as obtuse.  A must-listen for anyone who is a fan of boldly unique music. 


LA LEEE LAAA LALALAAAA

Lost Flood - Lost Flood [2011]

Lost Flood’s eponymous cassette brings together some filthily lo-fi black metal that borders on noise. Sloppily recorded drums crash on in the background over needle-thin walls of guitar noise and tortured howls from Peter McGee, who wrote and played all the music on this tape. McGee manages to bring together the repetitive drumming of atmospheric black metal and extremely noisy tremolo guitar riffs that combined create a truly dark and haunting atmosphere that is only exacerbated by the layers of noise obscuring the music .“Hunter’s Eyes” is among the best tracks here, devolving from Lost Flood’s hellishly raw and low-fidelity black metal into bursts of feedback that die out slowly as the track fades out. It's not a particularly long tape, but well worth checking out for those interested in some of the most abrasive and gloomily atmospheric blackened noise on offer from the british isles.

The Deep Freeze Mice - My Geraniums are Bulletproof (1979)

Some blissfully sarcastic and cheerful post-punk. Self-published band, The Deep Freeze Mice, made and released this incredibly solid and staple post-punk album for just £500. The album sums up post-punk as a genre really well: It's just a crazy deconstruction of the punk rock genre. The last track is also worth mentioning, it's a peculiar 27 minute long track that just goes all over the place, it's probably my favorite song off the album. It's a great album for anyone trying to get into post-punk, but because of it's relative obscurity it's a great gem to listen to if you're already a fan of the genre.

I can see both sides
But I can't see which is real
I can see both sides
But which is real

The H.P. Lovecraft Historical Society - A Very Scary Solstice (2003)

An album consisting entirely of Lovecraftian parodies of classic Christmas carols. Do I honestly need to say anything else I mean the album already sounds perfect doesn't it?

You know you want it, and merry Christmas/Hannukah/Kwanzaa/whatever!

Simon Finn - Pass the Distance (1970)

Exquisite psych-folk gem right here. Finn has a really great gravelly voice. This album is really fantastic, I mean I'm going to be the thousandth person to say this but Jerusalem is such an amazing track, Simon Finn just loses it on that track. The whole album is nuts, I mean that in the best way possible of course. I really just can not stress enough how much I love this album, one of the best psych folk albums ever created, and if you think otherwise you're just silly, that's just my ~very~ humble opinion of course. Every second is gorgeous and the whole album is like one big acid-laced stick of cotton candy.

You are no more evil now
Than you were when you when you began

Sun Ra - Of Mythic Worlds [1981]

“Mayan Temples” is a great slow-burner of an opener that sees some beautiful flutework weaving its way through Sun Ra's keyboard melodies and the fantastic percussion work, ending with some well deserved applause. It leads into the extremely jaunty piano-led “Over The Rainbow” sees Sun Ra at perhaps his most whimsical, witH the beautiful piano melody meandering along over the steady drumbeat - Sun Ra’s interpretation of this Wizard of Oz classic is easily my favourite that I’ve heard yet, even outdoing the version on Ra’s “Disco 3000 “Inside the Blues” again sees Sun Ra’s piano as the focal point of the piece and sees some passionate soloing from Ra over the infectious handclap rhythms. However, things take a turn for the weirder with “Intrinsic Energies”, as Ra’s keyboard takes on a far less conventional sound alongside the far looser percussion and odd, low electronic sounds floating around in the background and the cacophonous trill of the Arkestra’s horn section. The titular closer is easily the best piece here, clocking in at almost 13 minutes: It starts off with a groovy percussion jam between Arkestra members before Gilmore’s [?] saxophone kicks in over Ra’s plodding keyboard melodies. As the saxophone soars with spiritual fieriness, Ra’s keyboard stabs into the foreground, running through lines at a crazed pace as the saxophone melody starts to sound even more desperate, almost strangulated, as the percussion players bang on in the background, being drowned out by the frenzied saxophone playing. The saxophone eventually fades out as Sun Ra’s otherworldly keyboard melodies take centre stage, swirling around, spaced-out over the increasingly frenetic drumming, before the saxophone returns in triumphant ecstasy, with the track ending in beautiful cacophony.

Dig It

Family Fodder - Playing Golf (With My Flesh Crawling) / My Baby Takes Valium (1979) and Boris Policeband - Stereo / Mono (1979)

Other than the year they were released these two singles have nothing in common. It's just that I'd just feel bad if I dedicated an entire post to just one single

Good ol' Family Fodder. This is their first release, a fantastic, synthetic, scrambled post-punk single. It's a lot less clean and sharp than their later releases. But a fantastic single nonetheless. Great songwriting, catchy and adorable instrumentals, it's an all-around great single really.

I'm so happy with my life
Theres times I feel fungus growing on me

Now this is a real hidden no wave gem. The album is basically a critique of New York police in the late 70's. And it's done in such an interesting manner. The single consists of a bunch of very short, noisy, spoken word songs. It's almost like a really early power electronics album. Just noisy, demented, and raw. The album is so to-the-point. It's like a deliberate and organized kind of chaos, which is incredibly interesting. The album is a hypnotic subterranean gem.

Yeah I know the beat
Full of surprises
Don't feel safe on these streets with just a gun, a fuzzbox, and a stick
My wife can't sleep