Untitled

2016 MTV VMAs

Photo credit: Mason Poole

(Kevin Drumm and Jason Lescalleet live at 3S Artspace, 11 July 2015, Portsmouth, NH)

Ten years ago, Doug Mosurock’s Still Single debuted as a column at Dusted Magazine. Over time, what started as a monthly review of vinyl singles transformed into a semi-regular feature covering vinyl records of all kinds. Other writers joined the fold and the column became an entity unto itself. Now that Dusted is in exile, we’re continuing in the spirit of Still Single and presenting Dust, a weekly (or maybe semi-weekly) column collecting short reviews of releases, whether they show up as cassettes, records, CDs, or digital EPs on Bandcamp. Doug Mosurock joins us on our first modest ride, syndicating some of his writing from Still Single, with contributions this week from Bill Meyer, Ian Mathers, Lucas Schleicher, and Ben Donnelly. Want to submit music for review? We’ve added our address to the sidebar, send it there. Any genre on any format. Want to send digital music for review? Go ahead, just make sure you include all of the artwork and liner notes. That stuff is important. Thanks for reading!

I have a measly $3 standing between me and my CHIRP Fall Fundraiser pledge goal. Do something about it! Put me and my show over the top. http://tinyurl.com/mosurockchirppledge

New reviews up tonight. Sorry! Bringing it back on track.

Also, tomorrow at http://dustedmagazine.tumblr.com we are launching a new, regular capsule review column called Dust, featuring select content from Still Single and writing from the rest of the Dusted crew. I’m contributing write-ups of new cassettes by The Pink Noise and Well. Check it out.

<a href=“http://johnchantler.bandcamp.com/album/still-light-outside”>Still Light, Outside by John Chantler</a>

The first time I saw John Chantler live (opening for post-rockers Yndi Halda, rather incongruously), he used a vintage modular synthesizer to bounce and crash waves of electronic mulch around the ears of a very bemused-looking hipster crowd. Three years later, he was again the opening act (for Tony Conrad and then Ben Frost, more natural bedfellows), but in an East London church, and instead of taking to the stage, he sat at the gigantic pipe organ at the back of the hall and treated us to the sheer droning majesty that instrument can conjure up, particularly when processed through some of the same devices he employed at the first gig, and when notes are dwelled on in ways your average church organist would be wise to avoid. The evolution between the two sets (one noisy and chaotic, the other loud but minimalist) was striking, and this fascination with the potency of the pipe organ is what drives Still Light, Outside.