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The fall rush of record releases is in full swing, and unopened promos are piling up like leaves on hard drives, kitchen counters and office floors. Weâll never catch up, but that doesnât mean itâs not worth trying, as Dusted writers crack open the obscure and the celebrated, the familiar and the new to us, the comfortably in our lanes and the way out there. As always this edition of Dust covers a lot of ground, from retro New Orleans R&B to grind to dream pop to some eyebrow raising cross-genre collaborations. There is also a surprising amount of improvised bass music. Contributors this time include Jennifer Kelly, Ian Mathers, Bill Meyer and Jonathan Shaw.Â
Carlo Ditta â Pass the Hatchet b/w Life in Heaven (Orleans)
After a lifetime of making other people sound good â as the songwriter for the Mighty Sam McClain, Willie Deville and others and as the long-time proprietor of Orleans records â Carlo Ditta carves out a space in the front for himself in this smoldering R&B single. âPass the Hatchetâ on side A revives a slithery 1966 classic by New Orleans songwriter Earl âStereoâ Stanley Oropeza, with Oropeza himself in tow. The song is a marvel of shimmery swamp guitars, squalling sax and back-slanting swagger, like Andre Williams in a deep ruminative groove. âLife in Heavenâ is slower, blearier and more rickety, like a Tom Waits cut lost in the rain. Thereâs no hurry anywhere in these two sides, no particular urgency in catching your ear, but give it time and a moody magic will take hold, hot, humid and indolent.
Jennifer Kelly
 EMA â Outtakes from Exile EP (City Slang)
As you might expect from an EP of offcuts from a very strong album, only a few of the five tracks on the newest release from Erika M. Anderson are truly essential, but nothing here is really lacking either. And those two tracks are at near opposite ends of the spectrum of EMAâs work; the 20-minute âBreathalyzer Instrumental (EMA Long Cut)â is pretty much what it says on the tin, one-third of an hour worth of the sinister, fuzzed out, gradually shifting drone and clang that underscored one of the highlights of Exile in the Outer Ring. To listeners not into this kind of thing it probably feels indulgent; for the converted, it could easily be doubled or tripled (or just, you know, looped). Whereas âFrom the Love That We Made,â which Anderson feels strongly enough about to play at recent shows is more distinctly song-like and intensely emotional in a way that links it to everything from Exile opening track âSeven Yearsâ all the way back to Andersonâs âCheryleeâ from her years in Gowns. The other three songs here are worthy of being collected (two being fun, darkly electronic tunes and âAnything Goodâ feeling like a dry run for âDown and Outâ from the album with different subject matter) but itâs in those two tracks, one of which it feels like a shame there wasnât room for on Exile and one which absolutely would not have fit in, that are the best reminders of EMAâs talents. Â
Ian Mathers
  Billy Gomberg â Beginners (Dinzu Artifacts)
Beginners by Billy Gomberg
Billy Gomberg is no beginner. Heâs been releasing music of his own and with Fraufraulein, a duo with Anne Guthrie, for nearly a decade. And the sound sources he uses on this tape are familiar ones â electric bass, urban field recordings, synthesizer and hand-manipulated objects. Even so, it feels like something new is happening here. Gombergâs music has often seemed to stretch away from the listener, luring you to follow it through virtual expanses of space and time. Now it seems closer at hand, the sounds like sunning fish just under a pondâs surface. Theyâre simultaneously more recognizable and more processed that what heâs played in the past, creating a discreet reality that never quite loses its mystery no matter how often you play it.
Bill Meyer
 Brandon Lopez â Quoniam Facta Sum Vilis (Astral Spirits)
quoniam facta sum vilis by Brandon Lopez
One door closes, others open. Barre Phillips, the grand-père of solitary improvised double bass performance, has just closed out a half century of exploration with a final solo CD. In the same year, two musicians young enough to be his grandkids have taken up the gauntlet by releasing albums on Astral Spirits. Luke Stewartâs wasnât quite solo; he gave his amplifier a co-starring role. But Brandon Lopezâs Quoniam Facta Sum Vilis is full-on mano a contrabass. Each of its eight tracks zeros in on a particular way to attack the instrument. Fittingly, âVanitasâ sounds like it arises from some great sonic depth to ascend to a writing platform. On âLay,â stark figures blossom and twist like bursts of turbulent cloud erupting from a soon-to-blow volcano. The energy that Lopez expends on each track might give the listener pause. Will he stay in his corner? Will he throw the fight? No, he comes back for another round, and the listenerâs the winner.
Bill Meyer
 Stefan Neville / Greg Malcolm â A Nuance (Feeding Tube)
A Nuance (2017) by Greg Malcolm + Stefan Neville
Sometimes you can listen to a record and know who engineered or produced it. Steve Albini, Steve Lillywhite, Roy Thomas Baker â these guys have a signature sound or respect for certain kinds of sound that stands out no matter who theyâre recording. To that number, add New Zealander Stefan Neville. Heâs mostly recorded himself, performing under the name Pumice, and anytime he gets his hands on the two-track he favors a blown-speaker distorted quality thatâs unmistakably his own. That sound meets a song selection process that could best be described as âletâs call our favorite tunes and whack âem downâ on this record, which was mostly recorded live one night in 2015 in Ohope, a surferâs haven situated on the Bay of Plenty. Research turned up no evidence that Neville, who plays drums, keyboards, and tapes, and Malcolm, a marvelously idiosyncratic guitarist whose aesthetic cherry-picks the best of rock, jazz and the folk musics of the world, caught any waves while making this record. But their treatment of the Klezmer tune âSirbaâ evokes mental images of dudes with sidecurls riding their boards right through that hole in your woofer. They arenât confined to one mode of transportation, though; in their hands âTelstarâ becomes an ode to a rocket ship held together by duct tape and the Scottish hornpipe âBanish Misfortuneâ soundtracks a dogged march through ruins.
Bill Meyer
 The PapercutsâParallel Universe Blues (Slumberland)
Parallel Universe Blues by Papercuts
Jason Queverâs sixth album as Papercuts gets the balance between daydream and muscle right, shoring up his delicate melodies and shimmery guitar textures with drums in a way that much of his work between the stellar Canât Go Back and now have not. Thus while tremulous organs and feathery fretwork strew glitter dust on tracks like âMattress on the Floor,â while lush, choral harmonies buttress its wistful wondering, you donât get lost in the clouds. A swaggering Spector beat punctuates airy âLaughing Man,â underlining the keen ache of its melody and resolutely preventing the cut from evaporating into mist. âClean Living,â with its strident bowed cello and pounding toms, is even more emphatic, a drifty melancholia anchored to the here and now, and âWalk Backwardsâ slips a drum-pumping adrenaline into its narcotic haze. Queverâs world maintains its soft, evocative edgesâthereâs plenty of space for moody contemplationâbut runs a through line of rhythmic motion from one end to another of his songs. Always lovely, his songs here are unusually purposeful and gripping. Â
Jennifer Kelly
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Pig Destroyer â Head Cage (Relapse)
Pig Destroyerâs new LP opens with 20 secondsâ worth of Ray Noble and His Orchestraâs âMidnight, Stars and Youâ (which some listeners will recognize from a certain scene in Kubrickâs The Shining); over the strings, a cultivated English voice, sounding much like Margaret Thatcher, intones, âWe will not be held responsible for any hearing impairments or damage caused to you from excessive exposure to this sound.â Then the record proper starts. Itâs not a particularly new device, but itâs sort of funny, and it signals something about this record: Pig Destroyer are making music you can enjoy. Thatâs a big shift. On 2012âs terrific Book Burner, the band distanced themselves from the gratuitous gross-out splatter (and the even grosser misogyny) of earlier records like Terrifyer and Prowler in the Yard. But like that early music, Book Burner was a grindcore record: uncompromising, unrelenting, deeply pissed off. Head Cage varies the sonic palate. Thereâs still a heavy dose of grind, but there are also hearty portions of death metal, hardcore and even suggestions of slam. Thatâs not to suggest that the record is incoherent or opportunistic. Pig Destroyer have been at their craft for the better part of two decades, and all that experience shows. Songs this precise and athletic are hard to perform, and harder to compose. In addition to all the pace and volume, Pig Destroyer have discovered a groove: check out the supple bottom end and nigh-danceable riffing of âArmy of Copsâ and the first minute of âThe Adventures of Jason and JR.â Thereâs even a sort-of love song. Fun may not have been on the agenda when Pig Destroyer were creating these songs, but itâs hard not to have some fun listening to this madly pinballing, energetic album.Â
Jonathan Shaw Â
 QuietusâVolume Four (Ever/Never)
Volume Four by Quietus
Geoffrey Bankowski makes slow, somnolent, surreal music, employing the usual tools of bedroom recordingâhushed voice, lingering tones of guitar and piano, tape hissâin hypnotic, idiosyncratic patterns. Here, simple melodies course through complex architectures of noise and music. A clarinet soars over clatter and dissonance. Odd, evocative fragments of lyrics drift in and out of focus. Itâs a gentle ride, but surreptitiously wild, lulling you into calm, even as it takes you to some very odd places. âAirfieldâ for instance has a sleepy indie rock surface, all strummy guitar backdrop and whispered fantasies. Still anarchy lurks in the sounds between phrases, muted clashes and hums and booms suggesting a fight in the room down the hall. Likewise âWhisper into Muddy Clothâ slouches into being, a dirty rain of guitar chords pelting slack murmured phrases; it could be home-taped Pavement or nascent Silver Jews. And yet, a scrim of noise obscures whateverâs pop at the core of these songs, grounds them in a lo-fi bank of decomposing organic matter and makes them both realer and harder to grasp than youâd expect.
Jennifer Kelly
 Underworld/Iggy Pop â Teatime Dub Encounters EP (Caroline International)
Other than, er, both appearing on the soundtrack of Trainspotting (the sequel to which was the catalyst to this EP, where soundtrack supervisor Rick Smith met with Iggy Pop and to the latterâs surprise were ready with a portable studio if he was willing to seize the momentâŚ) itâs unclear how much overlap the fan bases of these two titans in their fields actually have, but the unexpectedly winning Teatime Dub Encounters ought to have something for both. âBells and Circlesâ immediately establishes the mood, with a clearly whimsical Pop talking about having wings and smoking on airplanes and trying to pick up stewardess while Karl Hyde and opera singer/Smithâs daughter Esme Bronwen-Smith (both in fine voice) coax him into a refrain of âsunlight on my wingsâ thatâs as beatific as anything on Barbara, Barbara We Face a Shining Future. While much of the EPâs material works in that register, with beautifully sculpted productions from Smith given an appealingly ramshackle feel by Popâs vamping about losing his shirt and being trapped in the suburbs, thereâs also the slightly melancholy, surprisingly moving âIâll See Big,â where Pop reminisces about the nature of friendship and the way life changes relationships. As one element of a more joyous overall work itâs strongly effective, but much of Teatime Dub Encounters suggests neither Underworld nor Iggy Pop need are in any hurry to stop creating. Â
Ian Mathers
 Various Artists â Seed Blunt / AC DC (Gilded Records)
Seed Blunt / AC DC by Vibrating Skull Trio // Packard/Hoogland
When two ensembles share a recording, one hopes to find some shared resonance. You could listen for a while and keep puzzling, but you donât have to look too far to find the common vibe on this tape. Both sessions were improvised in Chicago, mostly by Chicagoans. Vibrating Skull Trio, which includes drummer Phil Sudderberg, prepared guitar player Eli Namay and clarinetist John McCowen, obtain an electronic-sounding foundation from the latterâs contrabass clarinet. Further pursuing paradox, their music feels patient even when it arises from the collision of agitated actions. Flip the tape and youâll find a more fractious encounter between Dutch keyboardist Oscar Jan Hoogland and Chicago-based drummer Ryan Packard. Both men bring plenty of electronics into the fray, so that it often sounds like a sound clash between a drum machine and an old radio tuned to somewhere east of Istanbul. Electric sputter gives way to reluctant exchanges of feedback squiggles punctuated by cheap electric key plunks. The two sides of this tape donât sound like each other, but they jointly make a strong case for not sounding like those who have come before you.
Bill Meyer
 Matt WestonâThis Is Your Rosemont Horizon (7272 Music)
This Is Your Rosemont Horizon by Matt Weston
Chicagoans of a certain age will get the reference. But for the benefit of everyone else, the Rosemont Horizon was once the name of an arena situated just northeast of OâHare Airport. Depending on your age and tastes, you might have had your life changed there by Madonna, Andrea Bocelli, Taylor Swift or Queen; this writer cherishes memories of a pretty rocking night involving Sonic Youth, Neil Young & Crazy Horse and thousands of pissed-off Neil Young fans. Matt Weston might have been there that night, but this record doesnât sound like anything youâve ever heard coming from any stadium PA. People move on, and Westonâs moved into an idiosyncratic extension of INA-GRM electro-acoustic composition filtered through some more contemporary rock and glitch moves. Keyboards dance, needles scratch and bump and monolithic sound walls grow out of the splatter and evaporate in the echoing space of some airport terminal. Itâs just the thing for when you donât want any questions answered.
Bill Meyer
 Xylouris White â Mother (Bella Union)
George Xylouris and Jim White have, for three albums now, shown that their collaboration is among the best places to catch these two supremely talented musicians. Even existing fans of the Xylouris musical dynasty in Greece (George specializing in the lute-like laouto) and Whiteâs drumming with the Dirty Three and Nick Caveâs band might have been surprised at just how much the two have shone together. With Mother, for the first time one of their albums begins with the big bang rather than moving towards it, with the one-two punch of the forbidding âIn Media Resâ and the incredibly fun âOnly Loveâ beginning things strongly and the album gradually exploring less urgent rhythms until it winds up with a beautiful closing âLullabye.â About the faintest praise you can damn Mother with is that itâs another excellent, compulsively listenable album from the duo, but whereas 2016âs Black Peak marked a leap forward from their debut, here thereâs less of a significant progression than a refinement. And thatâs not really a criticism; when youâre as adroit and compelling in conversation as Xylouris White is, itâs hard to hope for much more than many future albums like this. Â
Guitarist Greg Malcolm's limited edition CD/DVD Some Other Time (2009, Kning Disk) was recorded in concert 2006. It includes his version of my father's tune "Chairman Mao".
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Qualityâ Free Actions
Free to watch ⢠No registration required ⢠HD streaming
Stefan Neville + Greg Malcolm, 'A Nuance' (Feeding Tube Records)
Wednesday, February 20, 2019, 6:13pm
Was doing other things while this played and at a certain point during the A side, I'd completely forgotten what record I was listening to, and couldn't even think of what it could possibly be for a good few moments (this is good). I don't remember the label description of this release, as intend to buy all SN releases blind, so I don't recall what the proposed remit of this record is supposed to be, but it seems to cover a lot of ground, and more listens are needed. Also not sure who GM is (although the name is mightily familiar) so I'm not sure what to think about division of labour, etc, as both boast a long and varied list of instrumental credits on the back.
Twine: "None Some Silver" (Recorder, Bip-Hop 2002)
French label Bip-Hop, at first known for its IDM-infused compilation series Bip-Hop Generation, issued this album by Twine in 2002. Chad and Greg of Twine are friends of mine, and I designed the artwork for this release at the time. To me, Recorder is the sound of Twine finding their own unique voice, after experimenting with disparate (but no less quality) sounds over the previous few years. "None Some Silver" pairs Chad Mossholder's guitar over a variety of squelching, abrasive textures and scrapes, complementing its wistful nature with some real heft and grit.