YTD recordings listened to: 967
Good music, not recommended for purchase: 597
Not good music: 304
Honorable Mentions: 14
Possibles: Boyd Rivers, Chris McGregor, Alvin Youngblood Hart, Dave Arner Trio, Bill Horist, MAKU Soundsystem, Zomby, Retox, About Group, Jessie Mae Hemphill, Kendl Winter, Bone Dance, Defeater, Jonwayne, Okkyung Lee, The Ballantynes, Debruit, Slidhr, The Whammies, The Chewers, La Misa Negra, Alexander Hawkins, Cheryl Pyle, Toxic Holocaust, Equal Stones, Comeback Kid, Susie Iberra/Roberto Rodriguez, Bio Ritmo, Lenguas Largas, Khun Narin, Doug Seegers, The Coral, Simo Lagnawi, Hush Point, Coffinworm, Raspberry Bulbs, Akele Wube
@@@ Raspberry Bulbs: Privacy (Blackest Black Ever, 2014). Some of the recent wave of psych punk cuts like a dull butter knife but this record I found on this weekend’s Aquarius Records’ list is not fucking around. The singer almost descends to metal throat shred but it’s nestled in a great slashing guitar sound and some really well recorded punk rawk drums. Oh my, this is some dirty ass shambolic shit, I’m surprised this made it past the 9/11 gatekeepers of taste. Great players at all positions and the drummer is killin it.
@@@ Akele Wube: Sost (Clapson, 2014). Also off the weekly WRIR playlist email. Thus far this is an instrumental Afro-funk record with a hypnotic and elastic bass line in the opener with tastefully done drums. I dig the addition of the flute which lends a softer, less macho vibe to the proceedings. A female singer makes her appearance in the second tune, and she brings some Middle Eastern influences to the mix. She’s pretty badass, and this second tune, Alègntayé, has it going on. Rhythmically funky with zippin’ horns and a unique vocalist — in baseball that’s a 3 tool weapon. I’m gonna have to put this on the peep it later list.
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@@@ Quinn Tsan: Good Winter (Self-released, 2014) I got to this recording via a music publicist. Tsan’s voice is atypical with pleasant off kilter enunciation and she’s backed by a pretty hip guitar player. The second tune is more folk rock than the ’70s laidback rock of the opener. It’s mellow and intimate with above average playing. About half of the songs are stripped down vocals and guitar and the rest is a full band situation.
@@@ Horseman: Dawn of the Dread (Mr. Bongo, 2014). A dancehall record I got to via the WRIR weekly email. Mr. Horseman has a rock solid flow on the microphone and he’s accompanied by some synth bubblin, a synth bass and a fat bass (in turns) and drum machine beats. I’m more a roots reggae/dub sort of listener but this is well done.