Here is a fantastic album by "The Lion of Zimbabwe" Thomas Mapfumo. Great interwoven guitar parts and shuffling percussion, apparently in the style of Chimurenga (another genre I probably wouldn't be able to name upon hearing, but sure, I'll acknowledge that this isn't simply Afrobeat). This album should be perfect for whenever Spring decides to show up here in the American Midwest...
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A bonus post: I am almost certain I found this via Danny, he of the dormant blog and dormant KiC contributor fame, bound for great things and universally loved by our little niche, and what a pleasant find it is.
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As the free-jazz canon as we know it continues to expand chronologically into the '80s (and what we know of the music in the '80s), we'll benefit greatly. From time to time I've mentioned my snobbishness related to anything post-1975 or so, thinking jazz had finally tanked, or become less vital, or more redundant, or more something (meaning LESS). Either way, the saying "there is no bad year for music" holds especially true for jazz.
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French black metal with a twist: actual lead guitar. Now, this is black metal of the "our lead singer is an insect giving birth" variety, so be forewarned. However, if you don't mind that, this is sorta novel in the nice balance between the crunchy, badly recorded riffage that we like (which puts a little more ephasis on the epic harmonic moves) and well-executed lead parts.
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Alright, I told myself that after Scatter, I wouldn’t post anything else I got from Danny’s 5 Star list on RYM, but fuck me if this record isn’t the ONLY thing I’ve been listening to lately. You should already be familiar with two of the members of this band, Caleb and Colleen Mulkerin, who after the demise of Cerberus Shoal, went on to release music as Big Blood.
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I think this is on one other blog, but I'm not sure if the download link is current. I fixed the tags, added the artwork, and reupped it, so if the old post (wherever it is) isn't working, hopefully more people can check this out. What we have is a great EP (roughly 30 minutes) or warm ambient/synth/folkish textures.
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This was a revelation for me. I had heard one other Zola Jesus record (via Danny's blog), but it didn't really do it for me. I was very hesitant to check this out as a result, but I'm glad that good ratings and a pretty cover convinced me to. This is much more what I was hoping for, a sort of truce between post-punk and the post-punk sub-genre no wave (totally different sounding, but potentially similarly grouped with labelmates Pocahaunted and Hair Police).
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John Wiese, of Sissy Spacek and solo notoreity, and C. Spencer Yeh, whose solo work and Burning Star Core project have both rightfully won acclaim, can be seen frequently in New York City's thriving underground scene.
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Here is moar techno, on request. I put up Model 500 (and will expand on the Juan Atkins coverage in the future), but I figured another essential overview was in order: Derrick May, fellow techno God and Detroit pioneer. Same observations as before, with the additional note that May is more focused on some of the synth and melodic elements where Atkins is funky.
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After reading a glowing review of this in Dusted, which referenced Bill Dixon, Leo Smith, and Lester Bowie, I had to check out this new record on Porter Records. Additional elements here are AMM-esque scraping and popping, with spaces and a lack of rhythm at times forcing you in.
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