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Ned Starke was right. Winter is coming, and maybe, for our Chicago and Eastern Seaboard contingent, itâs here. Thatâs a good excuse to find a big comfy chair near the stereo and dig into some new music. This time we offer some hip hop, some finger picking, some music concrete, some indie pop and, just this once, a Broadway musical. Contributors include Ray Garraty, Jennifer Kelly, Justin Cober-Lake, Jonathan Shaw, Bill Meyer and Andrew Forell. Stay warm.
ALLBLACK x Offset Jim â 22nd Ways (Play Runners Association)
ALLBLACK and Offset Jim have collaborated on a few tracks before, but this is their first release together. Their differences, which are significant, make the disc enjoyable through and through. Offset Jim has a poker face delivery that can fool anybody into thinking heâs deadly serious when heâs clearly having fun. ALLBLACK, on the other hand, is known for his goofy humor, but his goofiness is a mask that obscures a poetic psycho killer. Their combination of a healthy dose of humor and true-to-the-streets seriousnessâseen hereâ makes a case for tolerating all kinds of oddball pairings:
âDon't leave the house without your makeup kit
Diss songs about your real daddy just won't stick
Hey, bitch, say, bitch, I know you miss this demon dick
Please comb Max hair, take off them wack outfitsâ
Ray Garraty
 David Byrne â American Utopia (Nonesuch)
If you live long enough, everything that seemed edgy and electrifying in your youth will turn safe and comfortable in middle age. Youâll buy festival tickets with access to couches, tents and air conditioning. Clash songs will turn up in Jaguar ads. Kids at the playground will run around sporting your Black Flag tee-shirt. You may even find yourself in a $250 seat, at a beautiful theater, with your beautiful wife, seeing âAmerican Utopia,â David Byrneâs new jukebox musical, and, to borrow a phrase, you may ask yourself, âHow did I get here?â And look, you could do worse. These are wonderful songs, still prickly and spare even now in full orchestral arrangements, still booming with cross-currented, afro-beat rhythms (Byrne got to that early on, give him credit), still buoyed with a scratchy, ironic, ebullient pulse of life. Itâs hard to say what plot line stitches together âBorn Under Punches,â âEvery Day is a Miracle,â âBurning Down the Houseâ and âRoad to Nowhere,â or how absorbing the connective narrative may be. Itâs not, obviously, as kinetic and daring as the original arrangements, stitched together with shoe-laces, stuttering with anxiety, bounced and jittered by the back line of Tina Weymouth and Chris Frantz, clad in an absurdly oversized suit. And, yet, itâs not so bad and if I had three big bills to spend on a night at the theater, I might just want to see it re-enacted. Because Iâve gotten safe and comfortable, too, and anyway, better that than the Springsteen show.
Jennifer Kelly
 Charly Bliss â Supermoon EP (Barsuk)Â
Supermoon by Charly Bliss
Charly Blissâ latest release Supermoon, collects five tracks written during the Young Enough sessions that didnât make the final cut. The EP showcases the band transitioning from the grungy edge of their debut Guppy to the more polished pop sound of its successor. Eva Hendricks is one of the momentâs most distinctive voices, and these songs find her grappling with the themes so tellingly addressed on Young Enough. Although the songs here deserve release, the interest is in what they donât do. More than sketches, they are less lyrically formed than those on the album, more guitar driven and without the big pop pay offs. The band, Hendricks on guitar and vocals, her brother Sam on drums, guitarist Spencer Fox and bassist Dan Shure still produce a hooky, engaging record which will appeal to fans. Newcomers might want to start with the albums but Supermoon is not without its moments.
Andrew Forell
  Cheval Sombre â Been a Lover b/w The Calfless Cow (Market Square)
Cheval Sombre - Been a Lover b/w The Calfless Cow by Market Square Recordings
Cheval Sombre teamed with Luna/Galaxie 500âs Dean Wareham last year for a haunting batch of cowboy songs that found, as I put it in my Dusted review, âunfamiliar shadows and crevices in some very familiar material.â Now comes Cheval Sombre, otherwise known as Chris Porpora, with a brace of soft, dreamy folk-turned-psychedelic songs, one a gently sorrowful original, the other a cover of Alasdair Roberts. âBeen a Loverâ slow-strums through a whistling canyons of dreams, wistfully surveying the remnants of a long-standing relationship. It has the nodding, skeletal grace of Sonic Boomâs acoustic âAngel,â perhaps no coincidence since the Spaceman 3 songwriter produced the album. âThe Calfless Cowâ anchors a bit more in folk blues picking, though Porporaâs soft, prayerful vocals float free above the foundations. Both songs feel like spectral images leaving traceries on unexposed filmâunsolid and evocative and mysteriously, inexplicably there.
Jennifer Kelly
 Cigarettes After Sex â Cry (Partisan Records)
Cry by Cigarettes After Sex
Cigarettes After Sexâs 2017 debut album was a quite lovely collection of slow-core, lust-lorn dream pop. On the follow up Cry Greg Gonzalez (vocals, guitar), Phillip Tubbs (keys), Randall Miller (bass) and Jacob Tomsky (drums) double down on their signature sound with half the effect. The melodies are still here, the delicate restraint also, Gonzalezâ voice whispers seductively sweet nothings but this time around it is largely nothings heâs working with. Itâs not that this is a terrible record, itâs more that the wreaths of gossamer amount to not much. Lacking the humorous touches of the debut, Cry suffers from Gonzalezâ sometimes witless and earnest lyrics which are mirrored in the lackluster pace which makes one desperate for the sex to be over so one can get back to smoking. Cry aims for Lynch/Badalamenti atmospherics and hits them occasionally but too often lapses into Hallmark sentimentalism. For an album ostensibly about romantic and physical love Cry is dispiritingly dry. There is only ash on these sheets. Serge Gainsbourg is somewhere rolling his eyes, and a gasper, in the velvet boudoir of eternity.
Andrew Forell
 Lucy Dacus â 2019 (Matador)
Between Historian and boygenius, Lucy Dacus had a pretty memorable 2018. It makes sense that she'd want to document 2019. What she did instead was release a series of holiday-ish tracks over the course of the year and then collect them as the 2019 EP. The covers will likely get the most attention, whether her loving take on Edith Piaf's âLa vie en roseâ or the rocking rendition of Wham!'s âLast Christmas.â Dacus doesn't perform these songs with any sense of snark; she's both enjoying herself and invested. Counting Bruce Springsteen's birthday as a holiday might be silly, but she nails âDancing in the Dark,â turning it to her own aesthetic. The weird one here is âIn the Air Tonight,â which smacks of irony and whatever we call guilty pleasures these days, but she plays it straight, arguing for it as a spooky Halloween cut, and sort of pulls it off. Â
Focusing on the covers might lead listeners to forget how good a songwriter she is. The Mother's Day âMy Mother & Iâ feels thoroughly like a Dacus number, opening with contemplation: âMy mother hates her body / We share the same outline / She swears that she loves mine.â Holidays aren't easy. âFool's Goldâ (stick this New Year's track first or last) falls like snow, laden with regret and rationalization. Dacus works through holidays with care and concern. The covers might be fun (even the Phil Collins number works as a curiosity), but when she lets the more conflicted thoughts come through, as on âForever Half Mast,â she maintains the hot streak. The EP might be a bit of a diversion, but its secret complexity makes it more surprisingly forceful.
Justin Cober-LakeÂ
 Kool Keith â Computer Technology (Fat Beats)
Computer Technology by Kool Keith
Naming an album Computer Technology in 2019 is like calling a 1950 disc A Light Bulb. Ironic Luddite-ness is a part of the charm of the new Kool Keithâs album, his second this year. The record has a cyberpunk-ish (circa 1984) feel, thanks to wacky, early electronics-like beats that no sane hip hop artist today would agree to rap over. But who said Kool Keith was sane? Heâs like a computer virus here, infesting a modern culture he views with disdain. His kooky brags could be written off as old man rants if he been in the rap game since day one. On âComputer Technologyâ he says: âYou need to sit down and slow downâ, yet he himself shows no signs of slowing down.
If Kool Keithâs 1980s science rap messed around in a high school lab, heâs now a tenured professor in hip hop science blowing up the joint.
Ray Garraty
 Leech â Data Horde (Peak Oil)Â
Data Horde by Leech
Brian Footeâs work has a knack for showing up in slightly unexpected and subtly crucial places, whether itâs behind the scenes at Kranky and his own Peak Oil imprint, or as a member at times of Fontanelle or Nudge, or even just helping out Stephen Malkmus with drums. On Data Horde, his debut LP of electronic music under his Leech moniker, Foote works with his customary quiet assurance and subtly radical take on things, delivering a brief but satisfying set of bespoke productions that somehow evoke acid and ambient tinges at the same time, feinting towards full-out jungle eruptions before turning the corner and somehow naturally going somewhere much more minimal. Whether itâs the skittering, pulsing âBraceâ or the lush and aptly-named âNimbleâ, the results are consistently satisfying and the six tracks here suggest that we could stand to hear a lot more from Leech. Â
Ian Mathers
Midnight Odyssey â Biolume Part 1: In Tartarean Chains (I, Voidhanger)
Biolume Part 1 - In Tartarean Chains by MIDNIGHT ODYSSEY
 Midnight Odysseyâs massive new record sounds like what might happen if Gary Numanâs Tubeway Army smoked up a bunch of Walter Whiteâs finest product and decided that they must cover Pink Floydâs Live at Pompei, complete with ruins and really big gongs. Itâs interstellar. Itâs perversely grandiose. The synths soar and rumble, the vocals come in mournful choral arrangements, the low end thunders and occasionally explodes into blast-beat barrage. Itâs almost impossible to take seriously, and itâs presented with what seems like absolute seriousness. In any case, thereâs a lot of it: seven tracks, all of which exceed the eight-minute mark, and most of which moan and intone and resonate well beyond ten minutes. Youâve got to give it to Dis Pater, the only identified member of Midnight Odyssey â he really means it. But itâs often hard to tell if Biolume Part 1 (Pater threatens that there are two more parts to come) is the product of an unchecked, idiosyncratically powerful vision or just goofball cosmological schmaltz. To this reviewer, itâs undecidable. And thatâs interesting.
Jonathan Shaw
 Nakhane â You Will Not DieÂ
South African singer Nakhane TourĂŠ has a voice that can stop you in your tracks when he unleashes it, and a willingness to tackle uncomfortable topics (homosexuality, colonialism, and the way the imported Presbyterian church interacts with both) thatâs seen him both praised and threatened in his homeland. You Will Not Die marks a shift in Nakhaneâs music, both in terms of how directly and intensely he engages with those places where the sacred rubs up against, not so much the profane but the disavowed, even while sonically everything is lusher and brighter, whether itâs the slinky electroglam of âInterloperâ or the bell-tolling balladry of âPresbyteria.â For once itâs worth seeking the deluxe edition, for the Bowie-esque Anohni duet âNew Brightonâ and the defiantly melancholy cover of âAge of Consentâ alone.
 Matthew J. Rolin â Matthew J. Rolin (Feeding Tube)
Matthew J. Rolin by Matthew J. Rolin
Matthew J. Rolin steps to the head of the latest class of American Primitive guitarists on this self-titled debut LP. He is currently a resident of Columbus, Ohio, but his main inspirations from within the genre are Chicagoan. Reportedly a Ryley Walker concert sent him down the solo guitar path, but the one time this reviewer caught him in concert, Rolin only made one substance-oriented statement throughout the set, and it was more of a shy assertion than an extravagant boast. His sound more than pays the toll. Bright and ringing on 12 strings, pithy and structurally sound on six, he makes sparing use of outdoor sound and keyboard drones that bring Daniel Bachman to mind. Like Bachman did on his early records, Rolin often relies upon the rush of his fingerpicking to draw the listener along, and what do you know? It works.
Bill Meyer
  Claire Rousay â Aerophobia (Astral Spirits)
Aerophobia by Claire Rousay
To watch Claire Rousay perform is to see the process of deciding made visual. You canât put that on a tape, but you can make the tape a symbolic and communicative object. To see Rousay repeatedly, or to play her recordings in sequence, is to hear an artist who is rapidly transforming. This one was already a bit behind her development when it was released, but that can be turned into a statement, too. Perhaps the title Aerophobia, which means fear of flying, is a critique of the tapeâs essentially musical content? It is a series of drum solos, unlike the more the more recent t4t, which includes self-revealing speech and household sounds. If so, that critique does not reproach the music itself, nor should it. Even when you canât see her, you can hear her sonic resourcefulness and appreciate the movement and shape she articulates with sound.
Bill Meyer
 Colin Andrew Sheffield & James Eck Rippie â Exploded View (Elevator Bath)
exploded view by colin andrew sheffield & james eck rippie
Colin Andrew Sheffield, who is the proprietor of the Elevator Bath imprint, and James Eck Rippie, who does sound work for Hollywood movies, have this understanding in common: they know that you gotta break things to make things. The things in question donât even have to be intact when you start; at any rate, the feedback, microphone bumps, blips and skips that make up this 19-minute long piece of musique concrete sound like the product of generations of handling. It all feels a bit like youâre hearing a scan of the shortwave bands from inside the radio, which makes for delightfully disorienting listening.
Bill Meyer
 Ubik â Next Phase (Iron Lung)
Next Phase MLP (LUNGS-148) by UBIK
 Philip K. Dickâs whacko-existentialist-corporate-satire-cum-SF-novel Ubik turns 50 this year, and serendipitously, Australian punks Ubik have released this snarling, tuneful EP into the world. Thereâs a whole lot of British street punk, c. 1982, in Ubikâs sound, especially if that genre tag and year make you flash on Lurkers, Abrasive Wheels and Angelic Upstarts â bands that knew how to string melodic hooks together, and bands that had pretty solid lefty politics. Ubikâs songs couple street punkâs populist (in the pre-Trump sense) fist-pumping with a spastic, elastic angularity, giving the tracks just enough of a weirdo vibe that the bandâs name makes sense. The combination of elements is vividly present in âJohn Wayne (Is a Cowboy (and Is on Twitter)),â a hugely fun punk song that registers a fair degree of ideological venom as it bashes and speeds along. Somewhere, Horselover Fat is nodding his head and smiling.Â
Jonathan Shaw
 Uranium Club â Two Things at Once (Sub Pop)
Uranium Club (sometimes Minneapolis Uranium club) made one of the best punk albums of this year in The Cosmo Cleaners. âA visionary insanity, backed by impressive musical chops,â I opined in Dusted last April, setting off a frenzy of interest and an epic major label bidding war. Just kidding. Hardly anyone noticed. Uranium Club was this yearâs Patois Counselors, a band so good that it made no sense that no one knew about them. But, fast forward to now and LOOK at the heading of this review! Sub Pop noticed and included Uranium Club in its storied singles club. And why not? The bluntly named âTwo Things at Once,â (Parts I and 2), is just as tightly, maniacally wound as the full-length, just as gloriously, spikily confrontational. âPart 1â scrambles madly, pulling hair out by the roots as it agitatedly considers âour childrenâs creativityâ and whether âIâm too young to die.â Itâs like Fire Engines, but faster and crazier and with big pieces of machinery working loose and flying off the sides. âPart 2â runs slower and more lyrically but with no less intensity, big flayed slashes of discord rupturing its meditative strumming. There are no words in it, and yet you sense deep, obsessive bouts of agitation driving its motor, even when the brass comes in, unexpectedly, mournfully, near the end. This is the good stuff, and no one wants you to know about it. Except me. And now Sub Pop. Donât miss out.
Jennifer Kelly
 Various Artistsâ Come on up to the House: Women Sing Waits (Dualtone)
Come On Up To The House: Women Sing Waits by Dualtone Music Group, Inc.
Tom Waitsâ gravelly voice is embedded deep in the fabric of how we think of Tom Waits songs. You canât think of âCome On Up to the Houseâ without sandpapery catch in its gospel curves, or of âDowntown Trainâ without his strangled desolation; he is the songs, and if you donât like the way he sings, youâve probably never cared much for his recordings. And yet, here, in this all-woman, star-studded, country-centric collection of covers, you can hear, maybe for the first time, how gracefully constructed these songs are, how pretty the melodies, how well the lyrics fit to them. You cannot believe how different these songs sound with women singing. It is truly revelatory. Contributors include big stars (Aimee Mann, Corinne Rae Bailey), living legends (Iris Dement, Roseanne Cash), up-and-comers (Courtney Marie Andrews, Phoebe Bridgers) and a few emerging artists (Joseph, The Wild Reeds), and all have a case to make. Phoebe Bridgers distills âGeorgia Leeâ into a quiet, tragic purity, while Angie McMahon finds a private, inward-looking clarity in âTake It With Me.â Courtney Marie Andrews blows up âDowntown Train,â into a swaggering country anthem, while Roseanne Cash infuses âTimeâ with a warm, unforced glow. These versions transform weird, twisted reveries into American songbook classics, which is what they maybe were, under all that growling, all along.
DaBoii & The Mekanix - Friendly Reminder (feat. J-Stalin).
Woa, er is een The Mekanix x DaBoii album uit? En 4Rax doet maar ĂŠĂŠn hook? Dat is nog eens goed nieuws! Tegelijkertijd leveren niet alle rappers evenveel vuur als The Mekanix doen (zie bijv. het wat teleurstellende 2Legit waar Offset Jim op zijn meest half-slapends klinkt op een hele toffe beat), maar Stand On It heeft potentie. Juist ook omdat 4Rax wat fun lijkt te hebben met de hook. Juist van DaBoii had ik gehoopt dat hij all over the beats was, maar het lijken af en toe alsof er iets te veel adempauzes zijn.
Tegelijkertijd hebben ze ook een eigen solo album. Helaas lijkt daar hetzelfde voor op te gaan. Ondanks in potentie toffe featurings zoals Clyde Carson, Shoddy Boi (die wel heel degelijk spit: they tell me do some shit for the clubs, but they probably gonna sell drugs to this shit), Lil Blood, Iamsu en Lil bean etc. zijn het vooral de beats die de show stelen.
The Mekanix - Back On (feat. Shoddy Boi & Don Hollywood)
The Mekanix - Sauce University (feat. Yung Lott, Anthony Danza, Eddi Penthouse)
ALLBLACK - The Relay ft. Ralfy The Plug x Offset Jim x G2 x Murdock (prod. DTB, dir. voice2hard)
Gezien hier nog altijd een kaarsje gebrand wordt voor Reyâs CafĂŠ;Â Stink Teamâs Ralfy the Plug, G2 en Offset Jim. De laatste was nog op een hoogtepunt van Brill 4 the Trillâs Active 2 gespot. Excuses voor alle 16th letter izm, het schijnt het ding te zijn nu.
2023 edit: Haha, deze track (schijnbaar) niet gepost. Wat een era was dit. Dat Offset Jim nog iemand was om te spotten. Het begin van de PRA x Stink Team-tijd, en kijk waar we nu staan.. #LLTR.
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 Quality
Anya is LIVE right now
FREE
Free to watch ⢠No registration required ⢠HD streaming
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