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• Alternative playlists and tracks of the week
• Culturedarm's weekly newsletter straight to your inbox
• Movie reviews, earthy anecdotes, seven of the best and more . . .
• Bookmark your favourite or most hotly anticipated articles
• The satisfaction of supporting independent blah blah blah . . .

Lock it in and fuhgeddaboudit with an annual subscription to Culturedarm, which supports the site while providing access to special content including playlists and alternative tracks of the week. You get:

• The best new music from free jazz to noise to avant-pop
• Alternative playlists and tracks of the week
• Culturedarm's weekly newsletter straight to your inbox
• Movie reviews, earthy anecdotes, seven of the best and more . . .
• Bookmark your favourite or most hotly anticipated articles
• The satisfaction of supporting independent blah blah blah . . .

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Albums

Jugodefatuo – Bijù Bazar

A Principino whose body dissolves and recomposes perpetually, leads...

Patrick Shiroishi & Dylan Fujioka – Left up on the Tree

For several years now Patrick Shiroishi and Dylan Fujioka...

Nina Garcia – Bye Bye Bird

Working for almost a decade as Mariachi after getting...

Michael Bisio, Melanie Dyer, Marianne Osiel and Jay Rosen – NuMBq

Introduced by a deft clangour of gongs and chimes...

Michael Gordon & Theatre of Voices – A Western

Assailed by Howard Hawks and John Wayne for its...

Behind the Song

Behind the Song: ‘M’appari’ from Friedrich von Flotow’s Martha

'M'appari' is the best known name for the central...

Behind the Song: Charles Mingus – ‘Goodbye Pork Pie Hat’

Charles Mingus wrote 'Goodbye Pork Pie Hat' as an elegy for the pioneering jazz saxophonist Lester Young, who died in March 1959, two months prior to the recording sessions for what would become Mingus Ah Um. A darkly elegant ballad with a lone dissonant note full of pathos...

Behind the Song: David Bowie – ‘Subterraneans’

'Subterraneans' is the closing song on what has become perhaps David Bowie's most critically acclaimed album: Pitchfork placed Low at number 1 on their 'Top 100 Albums of the 1970s', on Q's list of the '100 Greatest British Albums Ever' Low was Bowie's highest entry at number 14, and while...

Behind the Song: Robyn – ‘Be Mine!’

Beginning her career in pop music at the age...

Behind the Song: Van Morrison – ‘Crazy Love’

https://www.youtube.com/watch?v=OIaKy1vM9hs 'Crazy Love' is the third track from Moondance, Van...

Tracks of the Week

Tracks of the Week 19.01.25

Benjamin Lackner plays the piano with a plangent grace...

Tracks of the Week 12.01.25

Not since Jerry Seinfeld groggily awoke to witness Tim...

Tracks of the Week 04.01.25

Fresh beginnings plus a few festive odds and ends...

Tracks of the Week 17.08.24

Allen Lowe's short bio says that the veteran saxophonist...

Tracks of the Week 10.08.24

David Lynch, the transcendental meditator and itinerant Eagle Scout...

At the Movies

The Blind Side (2009)

★ (1 out of 4 stars) - The Blind Side purports to tell the real-life story of Michael Oher, depicted here as a poor oversized black kid from the ghetto. He's in and out of foster homes thanks to an absentee father and a drug addict mother, until the father of one of his friends - on whose couch he has been sleeping - brings him to the attention of the football coach of a local Christian school...

Diego Maradona (2019)

★★★½ (3.5 out of 4 stars) - One of the successes of Diego Maradona lies in how it manages to restore some of the luxe hedonism and heady momentum to a story so often shrouded by bloated excess. A keenly self-conscious Maradona pushes himself through sporting triumphs and binge cycles, as the barrio boy from Buenos Aires in the slum city of Naples embraces the fur coats and neon lights.

Three Men and a Little Lady (1990)

★½ (1.5 out of 4 stars) - Three Men and a Baby is more than a guilty pleasure, it's one of the defining movies of the 1980s for the easy chemistry between its three leads, and for the panoply of fashion, interior design, and architectural styles it affords, an unconstrained movement of plaids and pastels under the neon lights and glass hallways of their luxe apartment and out in the bustling parks and streets of New York...

Chinatown (1974)

★★★★ (4 out of 4 stars) - Chinatown is a detective story, loosely inspired by the California water wars which took place between the fledgeling city of Los Angeles and the surrounding Owens Valley in the early twentieth century. The pivotal figure in those wars was William Mulholland, the chief architect of the Los Angeles Aqueduct, whose career came to an abrupt end with the failure of the St Francis Dam in 1928...

The Taking of Pelham One Two Three (1974)

★★★★ (4 out of 4 stars) - From a modern perspective, the original and best film version of The Taking of Pelham One Two Three almost seems to lack a final act: when the shakeout comes and the criminals attempt to make their getaway, there is no major chase sequence, limited gunfighting, and the villains for the most part - faced with the ambling steeliness of Walter Matthau's Lieutenant Zachary Garber - prove their own undoing...

World Cinema

Parasite (2019)

★★★★ (4 out of 4 stars) - A family of four live in a cramped and roach-infested banjiha, a semi-basement apartment in Seoul. They crib free Wi-Fi from unsuspecting neighbours and a nearby coffee shop, and their only source of income, procured by the mother Chung-sook via WhatsApp, comes from the folding of pizza boxes for a local delivery service, a task at which they are only moderately successful...

Tully (2018)

★★★½ (3.5 out of 4 stars) - Tully is the third collaboration between director Jason Reitman and writer Diablo Cody, following on from Juno (2007) and Young Adult (2011). All three films deal with the role of women as child-bearers, looking in turn at teenage pregnancy and adoption, miscarriage, and postpartum depression, which in this case borders on psychosis...

High Noon (1952)

★★★★ (4 out of 4 stars) - Will Kane (Gary Cooper), the marshal of a small frontier town in New Mexico Territory, gets married in a small civil ceremony to his beautiful young wife Amy Fowler (Grace Kelly), a Quaker whose imminent plans include a family and a convenience store someplace else. Fully intending to play the doting husband, to that end it is also Kane's last day on the job, and he hands in his badge...

The Ballad of Buster Scruggs (2018)

★★★★ (4 out of 4 stars) - The Coen Brothers' first foray on Netflix feels curiously well suited to the format: curious because beyond the vagaries of the term 'anthology', which on film has sometimes meant multiple directors and is nowadays more often used for television shows whose series are self-contained, straddling the line between more conventional movie making and episodic or serialised television, what The Ballad of Buster Scruggs most resembles...

Once Upon a Time in Hollywood (2019)

★★★ (3 out of 4 stars) - In February 1969 in Hollywood, fading television star Rick Dalton (Leonardo DiCaprio) frequents bars and gets ferried around by his old stunt double, Cliff Booth (Brad Pitt). Booth lives in a trailer with his pit bull Brandy, in an empty lot behind the drive-in in Van Nuys, but Dalton keeps up appearances with a luxury home in Beverly Crest overlooking Beverly Hills...

Earthy Anecdotes

Earthy Anecdotes: Katharine Hepburn Steals Stephen Sondheim’s Plant

By the turn of the twentieth century, the Turtle Bay neighbourhood on the east side of Midtown Manhattan was a 'riverside back yard' for the city of New York. Imposing brownstones and squalid tenement housing butted up against the breweries, gasworks, and slaughterhouses which lined the waterfront. Eventually the waterfront would be reshaped by the United Nations headquarters, with dozens of diplomatic missions...

Earthy Anecdotes: The Texas Chain Saw Massacre’s Hellish Dinner Scene

One of the most influential horror movies of all-time,...

Earthy Anecdotes: Alex Ferguson, Mick Harford and The League That Got Away

In the winter of 1991, Manchester United stood atop...

Earthy Anecdotes: The Premiere of The Rite of Spring

On 29 May 1913, The Rite of Spring, the ballet and...

Earthy Anecdotes: Zola’s House at Médan by Paul Cézanne

In Banks of the Marne by the French artist...

Poetry

Fyodor Sologub – ‘At Times There Comes a Strange Smell Wafting’

Fyodor Sologub was born Fyodor Kuzmich Teternikov on 1...

Emily Dickinson – ‘I Can Wade Grief’ (1862)

Emily Dickinson was born on 10 December 1830 in...

Alexander Blok – ‘Night, street, street-light, drugstore’ (1912)

Alexander Blok (Александр Блок) (1880-1921) was the foremost of...

‘Silentium!’ by Fyodor Tyutchev

Silentium! Speak not, lie hidden, and conceal the way you dream,...

James Joyce

Ignatius Loyola and the Jesuits; and the Jesuits and James Joyce

With the election yesterday evening in Rome of former...

The Homeric Parallel in Ulysses: Joyce, Nabokov and Homer in Maps

When Ulysses was published on 2 February, 1922, it was the...

Behind the Song: ‘M’appari’ from Friedrich von Flotow’s Martha

'M'appari' is the best known name for the central...

Joyce, Nabokov, and Dirty Books: The Publications of Ulysses, Haveth Childers Everywhere, and Lolita

With Ezra Pound acting as intermediary, from the spring of...

Obituaries

Toots Hibbert, Reggae Pioneer and Lead Vocalist of the Maytals, Dies Aged 77

https://www.youtube.com/watch?v=ErQ2UB44k-o Toots Hibbert, the pioneering reggae musician who imbued his...

Ruth Bader Ginsburg, Supreme Court Justice, Dies at the Age of 87

https://www.youtube.com/watch?v=VRlEFT-44Ik Ruth Bader Ginsburg, associate justice of the Supreme Court...

Stephen Sondheim, Who Reinvented the Musical Theatre, Dies at the Age of 91

The composer and lyricist Stephen Sondheim died on Friday...

Charlie Watts, Steadfast Drummer of the Rolling Stones, Dies at the Age of 80

https://www.youtube.com/watch?v=M1_6z9oqet8 Charlie Watts, the backbone of the Rolling Stones for...

Culturedarm

Subscribe to Culturedarm

A monthly subscription supports Culturedarm while providing access to special content including playlists and alternative tracks of the week. You get:

• The best new music from free jazz to noise to avant-pop
• Alternative playlists and tracks of the week
• Culturedarm's weekly newsletter straight to your inbox
• Movie reviews, earthy anecdotes, seven of the best and more . . .
• Bookmark your favourite or most hotly anticipated articles
• The satisfaction of supporting independent blah blah blah . . .

Lock it in and fuhgeddaboudit with an annual subscription to Culturedarm, which supports the site while providing access to special content including playlists and alternative tracks of the week. You get:

• The best new music from free jazz to noise to avant-pop
• Alternative playlists and tracks of the week
• Culturedarm's weekly newsletter straight to your inbox
• Movie reviews, earthy anecdotes, seven of the best and more . . .
• Bookmark your favourite or most hotly anticipated articles
• The satisfaction of supporting independent blah blah blah . . .

placeholder text
3
25
0

Albums

Jugodefatuo – Bijù Bazar

A Principino whose body dissolves and recomposes perpetually, leads...

Patrick Shiroishi & Dylan Fujioka – Left up on the Tree

For several years now Patrick Shiroishi and Dylan Fujioka...

Nina Garcia – Bye Bye Bird

Working for almost a decade as Mariachi after getting...

Michael Bisio, Melanie Dyer, Marianne Osiel and Jay Rosen – NuMBq

Introduced by a deft clangour of gongs and chimes...

Michael Gordon & Theatre of Voices – A Western

Assailed by Howard Hawks and John Wayne for its...

Behind the Song

Behind the Song: Chuck Berry – ‘You Can’t Catch Me’

'You Can't Catch Me', one of Chuck Berry's early singles, proved an unexpected commercial flop. It failed to chart upon its release at the onset of 1957 - despite being given prominence by the fledgeling rock and roll feature Rock, Rock, Rock!, which had opened in cinemas the previous month...

Behind the Song: Van Morrison – ‘Crazy Love’

https://www.youtube.com/watch?v=OIaKy1vM9hs 'Crazy Love' is the third track from Moondance, Van...

Behind the Song: Leonore Overture, ‘Farewell Amanda’, ‘One Night’

Ludwig van Beethoven - Leonore Overture No. 1, Op....

Behind the Song: Charles Mingus – ‘Goodbye Pork Pie Hat’

Charles Mingus wrote 'Goodbye Pork Pie Hat' as an elegy for the pioneering jazz saxophonist Lester Young, who died in March 1959, two months prior to the recording sessions for what would become Mingus Ah Um. A darkly elegant ballad with a lone dissonant note full of pathos...

Behind the Song: ‘M’appari’ from Friedrich von Flotow’s Martha

'M'appari' is the best known name for the central...

Tracks of the Week

Tracks of the Week 19.01.25

Benjamin Lackner plays the piano with a plangent grace...

Tracks of the Week 12.01.25

Not since Jerry Seinfeld groggily awoke to witness Tim...

Tracks of the Week 04.01.25

Fresh beginnings plus a few festive odds and ends...

Tracks of the Week 17.08.24

Allen Lowe's short bio says that the veteran saxophonist...

Tracks of the Week 10.08.24

David Lynch, the transcendental meditator and itinerant Eagle Scout...

At the Movies

Million Dollar Baby (2004)

★½ (1.5 out of 4 stars) - Maggie Fitzgerald (Hilary Swank), from southwest Missouri, has worked as a waitress from her early teens. Stuck in grim poverty, she seeks a way beyond her circumstances, and determines to become a boxer. She turns up at a worn-down Los Angeles gym, owned and run by Frankie Dunn (Clint Eastwood) with the help of Eddie 'Scrap-Iron' Dupris (Morgan Freeman): a former boxer himself...

The Sunshine Boys (1975)

★★★ (3 out of 4 stars) - In The Sunshine Boys a pair of ageing and increasingly frail former comedians, Al Lewis and Willy Clark (George Burns and Walter Matthau), are brought together eleven years after their acrimonious separation in order to star one more time in a special for ABC. Veterans of the vaudeville circuit, their career together spanned forty-three years and six appearances on The Ed Sullivan Show...

Midsommar (2019)

★ (1 out of 4 stars) - Through a few snapshots of comforting mundanity - the boys' scenes could be from a Judd Apatow movie, minus the laughs - we come to learn of Dani and Christian, a young American couple whose long-term relationship has started to crack. Spurred on by his friends, who find her too needy, Christian has already begun separating himself from Dani, for her part made anxious by her bipolar sister...

We’re the Millers (2013)

★★★ (3 out of 4 stars) - In what sounds like a riff on an old joke, a drug dealer, a stripper, a runaway, and a nerd climb into a camper van south of the border. David Clark (Jason Sudeikis) is a low-level marijuana dealer who finds himself beholden to his supplier, the sleazy businessman Brad Gurdlinger (Ed Helms), when a couple of street hoods make off with his stash. To cover the debt with a little added compensation, David reluctantly agrees to smuggle a 'smidge' of weed from Mexico...

Tully (2018)

★★★½ (3.5 out of 4 stars) - Tully is the third collaboration between director Jason Reitman and writer Diablo Cody, following on from Juno (2007) and Young Adult (2011). All three films deal with the role of women as child-bearers, looking in turn at teenage pregnancy and adoption, miscarriage, and postpartum depression, which in this case borders on psychosis...

World Cinema

The Taking of Pelham One Two Three (1974)

★★★★ (4 out of 4 stars) - From a modern perspective, the original and best film version of The Taking of Pelham One Two Three almost seems to lack a final act: when the shakeout comes and the criminals attempt to make their getaway, there is no major chase sequence, limited gunfighting, and the villains for the most part - faced with the ambling steeliness of Walter Matthau's Lieutenant Zachary Garber - prove their own undoing...

Teen Wolf (1985)

★½ (1.5 out of 4 stars) - It would be naive to suggest that things were simpler back in the 1980s, but when it came to the movie preferences of adolescent males, they were less demanding at least. True it was the era of high concept film, of space operas and extra-terrestrials and all-action archaeologists, of darkening or neon-clad dystopias, of robots and terminators, of zombies and ghosts and gremlins...

Three Men and a Little Lady (1990)

★½ (1.5 out of 4 stars) - Three Men and a Baby is more than a guilty pleasure, it's one of the defining movies of the 1980s for the easy chemistry between its three leads, and for the panoply of fashion, interior design, and architectural styles it affords, an unconstrained movement of plaids and pastels under the neon lights and glass hallways of their luxe apartment and out in the bustling parks and streets of New York...

How to Steal a Million (1966)

★★½ (2.5 out of 4 stars) - Nicole Bonnet (Audrey Hepburn) is the daughter of an art forger, who has gathered so many supposed masterpieces in his private collection that he has won considerable renown in the world of art. Approached by the Kléber-Lafayette Museum, he proudly loans to the illustrious Paris institution (which for the sake of the film occupies the building of the real-life Musée Carnavalet) his most prized possession, his Cellini 'Venus'...

Adam’s Rib (1949)

★★★★ (4 out of 4 stars) - Adam and Amanda Bonner, a couple of happily married lawyers who live in an upper-floor apartment in New York, begin to clash when they land on opposite sides of a trial for attempted murder. Adam views the matter in black and white, believing that Doris Attinger broke the law and deserves to be punished, while Amanda delights in teasing out some of the nuances of the case, perceiving an opportunity to rail against gender imbalances...

Earthy Anecdotes

Earthy Anecdotes: Katharine Hepburn Steals Stephen Sondheim’s Plant

By the turn of the twentieth century, the Turtle Bay neighbourhood on the east side of Midtown Manhattan was a 'riverside back yard' for the city of New York. Imposing brownstones and squalid tenement housing butted up against the breweries, gasworks, and slaughterhouses which lined the waterfront. Eventually the waterfront would be reshaped by the United Nations headquarters, with dozens of diplomatic missions...

Earthy Anecdotes: The Texas Chain Saw Massacre’s Hellish Dinner Scene

One of the most influential horror movies of all-time,...

Earthy Anecdotes: Alex Ferguson, Mick Harford and The League That Got Away

In the winter of 1991, Manchester United stood atop...

Earthy Anecdotes: The Premiere of The Rite of Spring

On 29 May 1913, The Rite of Spring, the ballet and...

Earthy Anecdotes: Zola’s House at Médan by Paul Cézanne

In Banks of the Marne by the French artist...

Poetry

The Early Poetry of Mina Loy

When the first issue of Others: A Magazine of...

Rabindranath Tagore, E. E. Cummings; Bonnie ‘Prince’ Billy, Björk

Rabindranath Tagore (1861-1941) was a Bengali polymath, best known...

Pierrot Through the Arts

Pierrot, the sad clown in white face and loose...

Emily Dickinson – ‘I Can Wade Grief’ (1862)

Emily Dickinson was born on 10 December 1830 in...

James Joyce

Daily Visual 16.06.15: Bloomsday 2015

Bloomsday today in Dublin marks the culmination of a...

Joyce, Nabokov, and Dirty Books: The Publications of Ulysses, Haveth Childers Everywhere, and Lolita

With Ezra Pound acting as intermediary, from the spring of...

Ignatius Loyola and the Jesuits; and the Jesuits and James Joyce

With the election yesterday evening in Rome of former...

The Homeric Parallel in Ulysses: Joyce, Nabokov and Homer in Maps

When Ulysses was published on 2 February, 1922, it was the...

Obituaries

Charlie Watts, Steadfast Drummer of the Rolling Stones, Dies at the Age of 80

https://www.youtube.com/watch?v=M1_6z9oqet8 Charlie Watts, the backbone of the Rolling Stones for...

Jean-Paul Belmondo, the Face of the French New Wave, Dies At the Age of 88

https://www.youtube.com/watch?v=NbAMIHLciGk Jean-Paul Belmondo, the actor whose crooked nose and raffish...

Ruth Bader Ginsburg, Supreme Court Justice, Dies at the Age of 87

https://www.youtube.com/watch?v=VRlEFT-44Ik Ruth Bader Ginsburg, associate justice of the Supreme Court...

Norm Macdonald Used To Think His Life Was Incomplete. Now It’s Finished.

https://www.youtube.com/watch?v=L7K-kaelQEs Norm Macdonald, the comedian whose mischievous glint and deadpan...

Culturedarm

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Tracks of the Week 27.04.24

Engaged in the summoning of lands that time forgot, whether it’s crude vestiges of Americana or the Styxian blues of his last record, the guitarist Bobby Would carries an iterative and sometimes thrillingly pleonastic charm as he finds new points of emphasis and scrabbles the nooks and crannies of his scuzzy yet melodious loops. His new album Relics Of Our Life for the Oakland label Digital Regress certainly bears some of the hallmarks of the Dunedin sound, depicted here as ‘the delicacy of The Great Unwashed with the heavy heart of The Verlaines and the smartness of The Chills’, but it’s really about breaking apart that sort of emotional and stylistic nexus, as Would explores everything from its forebears in the garage rock of The Velvet Underground and The Stooges with their artsy airs and punkish distortions to its successors in the slacker rock of Pavement and the mid-tempo balladry of R.E.M.

Other bands which spring to mind include the florid and even slightly wan psychedelia of Love, the surf rock and spectral wind chimes of The Beach Boys and the inveterate jangliness of The Byrds. There’s a little bit of the soft samba which characterised sunshine pop, and while the album notes also cite the ‘hymnal geometry and switched-on Palestrina’ of Popol Vuh and the cosmic elation of Terry Riley, perhaps the clearest representation of his sound would be to say that Bobby Would sits gladly somewhere between Bobby Darin and Ariel Pink with the same penchant even amidst his fuzzy repetitions for swashbuckling dynamics and fetching hooks.

Some of the earworms on Relics Of Our Life have clearer antecedents in the briskly incessant doo-wop of ‘Stay’ by Maurice Williams and the Zodiacs, the stoner sands of ‘Black Hole Sun’ by Soundgarden and the gothic sloshing of ‘Riders on the Storm’ by The Doors. ‘All I do is thinking about you’ and ‘Why don’t you talk to me?’ are some of the petitions and supplications which Would intones to various stages of completion, riding waves of scum and foam as they stretch out beyond the sea.

The besuited Dubliner pigbaby offers a similar potpourri of genres on his debut full-length for PLZ Make It Ruins. The eleven mulched pearls of i don’t care if anyone listens to this shit once you do run the gamut from torch songs to a sort of claustrophobic, world-weary anxiety which finds the sonic and atmospheric middle ground between Blackhaine and Brian Wilson (the frequent Blackhaine collaborator, grisaille tearjerker and White Hotel habitué Rainy Miller wound up mixing each of the tracks). From the scuttling or smothering pensiveness of ‘Meep meep said the rat’ and ‘I’m here, with you’, which introduces a characteristic swathe of muted woodwinds and brass, ‘Life moves fast, so take my hand.’ carries bird calls and other field recordings, an insidious, subtly propulsive post-punk guitar line, pitch-shifted cloud rap vocals and a glitching percussive tape hiss whose enveloping warmth is redolent of early-aughties indie standouts like Múm or The Notwist. Suddenly the air of quiet and groping desperation is dispelled by ‘The Green Hills of Cornamona’, the setting of the album’s cover, a winsome pastoral featuring bronzed saxophone and billowing strings.

Pigbaby recorded i don’t care if anyone listens to this shit once you do in a little cottage in the Irish countryside in the winter of 2021, after he and a small group of friends lugged cellos, guitars, tape decks and samplers, plastic keyboards and portable Indian harmoniums, some of which were gathered from his mother’s attic, up a muddy hill as the rain fell and wild horses passed by. The prevailing mood is both mystically dank and sometimes deliriously heartfelt, with the accoutrements of the album such as its lowercase styling and the artist’s pervasive pig costume adding to the sense of an hermetic narrative. The songwriting veers from short epigrammatic utterances to lengthy confessionals which pluck at the heartstrings even though the listener is never quite sure how much is put-on or true, whose details steer between the musty and trite, the cod-cinematic and the keeningly familiar, always ready with an acute observation or resonant turn of phrase enough to steer us right back on track.

An example of the confessional narrative style, ‘Crying in Burger King’ is also the record’s most varied and dissolute track, with a simple chord progression on the guitar, elegiac fiddle strains and ramshackle percussion accompanying the mawkish saga of an empty stomach and fast food tears, from the damp concrete or peatlands teasing a jazz break before immediately seguing into a blur of fusion, Cocteau Twins glossolalia and staggering Sigur Ros or Godspeed You! Black Emperor-esque post-rock. ‘I miss my baby girl.’ dabbles with skiffle, brings in a transposed fiddle and closes as a bar room shanty with choral accompaniment, leading in to ‘Texas Girl’ which serves as both climax and centrepiece.

The recollection of a stalled romance by turns glibly absurd – as when the singer in his conversational intimacy admits ‘I sat and watched her suck some guy’s gigantic dong. I didn’t expect to fall so quick’ – and searingly poignant, the text is accompanied by the wordless sean-nós melismas of a tenor with peals of giggling laughter and Michael Jackson-esque hee-hees as pigbaby warms to his subject, before hope frays and the fantasy turns sour. On a sodden bike ride from Bed-Stuy over the bridge into Manhattan on Christmas Day, the narrator listens through his Bluetooth speakers to Aphex Twin, whose . . . I Care Because You Do is cannily referenced in the album title, and Tirzah’s soothingly downbeat ‘Fine Again’, but as ‘Texas Girl’ itself swirls to a crescendo and pigbaby dwells on a sense of loss and lessons learned, the piece evokes something of Paul Simon at his most quizzical, on Graceland tracks like ‘Diamonds on the Soles of Her Shoes’, fittingly given some of the shared themes and locales while switching out its zephyr optimism for something more rainswept and threnodial, or ‘Gumboots’ and ‘I Know What I Know’ whose chorus and dynamics have been mined across whole songs and albums by Bonnie ‘Prince’ Billy, another far-flung spiritual kin. Closing on a bit of music hall with harmonium and fiddle, i don’t care if anyone listens to this shit once you do is a record that’s easy to dismiss but very difficult to shake, a sentiment of a piece with the title, a promise made and held dear.

There’s a rubbery quality to the strings of the Tomeka Reid Quartet on the centrepiece of their latest suite, entitled ‘Sauntering With Mr. Brown’, especially to the guitar of Mary Halvorson, who sashays and careens with a surreal suppleness and bendy legs as Reid on the cello plays a circuitous loop pizzicato. Halfway through the piece the ensemble comes together, supported by drumrolls from Tomas Fujiwara and Jason Roebke’s burgeoning bass, as Reid’s angular bows become an amorphous cloud, dragging her bandmates along as the spokes show from their upturned umbrellas. Another quick break on the guitar and Halvorson and Reid reverse roles, with Halvorson’s six-string taking the loop and Reid, who incorporates electronics on 3+3 after previously sticking to acoustic preparations, playing long fraying arcs as the quartet ramble in search of a destination.

After taking a deep and sumptuous dive into the floridities and moribundities of Charles Baudelaire across a series of sparsely accompanied studio and live orchestral albums, the Norwegian chanteuse Susanna unveils her latest project Meditations on Love, the fruit of five years of songwriting. The swirls and eddies of a saxophone open the first single ‘Everyone Knows’, joined by a rebounding bass line and sprinkles of keys before bass clarinet and junk percussion add crunch to the proceedings. Susanna sings of an unfaithful relationship and news of that betrayal spreading across town, a furtive type of knowledge which begets the inevitable breakdown.

The saxophonist Isaiah Collier seeks to summon a divine energy on The Almighty, which features the drummer Michael Shekwoaga Ode, the pianist Julian Davis Reid and the bassist Jeremiah Hunt as his Chosen Few, a quartet further sanctified on the album closer and title track by an eleven-piece ensemble known as The Celestials. On the surging and uplifting ‘Compassion’, the young saxophonist whose work has frequently paid tribute to John Coltrane, Pharoah Sanders and Sun Ra plays alongside his longtime mentor Ari Brown, the horns of the kindred Chicagoans resounding in a sort of celestial echo over roiling drums and bell chimes, with the percussion becoming more plosive as the piece swells to a climax, supernovas and shooting stars which accompany the readvent of creation.

Renowned for his unique tenor saxophone whisper, Oded Tzur conjures a lovely burnished glow on ‘Renata’ as the instruments of his quartet melt into one another while carrying distinct melodic lines, from the rising and falling arpeggios of Nitai Hershkovits whose piano plays an elegantly spare solo in the middle of the piece, to Petros Klampanis on plucked bass and the sinuous, bristly percussion of the new group member Cyrano Almeida. Esecutori di Metallo su Carta, the anticlassical ensemble founded back in 2016 by Enrico Gabrielli and Sebastiano De Gennaro, offer a typically lively take on the ‘Synchronia in quartetto’ of the Reichian minimalist composer Fulvio Caldini. And as she prepares to roll out her hotly anticipated debut album, Tems solicits a tender touch on the buoyant and club-oriented ‘Love Me JeJe’ which interpolates the 1997 Afro-soul classic by Seyi Sodimu and Shaffy Bello.

Hot on the heels of The Magic City compered by Meshell Ndegeocello and last year’s incendiary pulling apart of ‘Nuclear War’, the nonprofit Red Hot which combats AIDS and promotes equal access to healthcare through pop-culture collaborations unleashes the most jam-packed volume to date in its ongoing series of reinterpretations of works by the great Sun Ra. Headlined by Kronos Quartet, the album Outer Spaceways Incorporated will feature a cavalcade of alternative icons from the performance artist Laurie Anderson and the Sun Ra alto saxophonist and Arkestra leader Marshall Allen to the footwork pioneer RP Boo, the black quantum futurist and spoken word poet Moor Mother, billy woods and Elucid of Armand Hammer, the minimalist Terry Riley and the scabrous sound artist and instrument maker Evicshen. On the early teaser ‘Daddy’s Gonna Tell You No Lie’ with Laraaji, the new age maestro takes a sample of the early track with doo-wop vocals from the Cosmic Rays and fortifies it with swathes of synthesizer plus celestial squiggles of reversed kalimba and electric autoharp, which like Kronos Quartet’s strings are buried well within the mix to add a holographic, trance-like dimensionality to the ripple of deep groves and fusion comedowns.

Finally on what he describes as an Afro-surrealist anti-opera, the double bassist Nick Dunston draws from the poetic and folkloric texts of Octavia E. Butler, Toni Morrison, Ted Chiang, Richard Hugo and Gabriel García Márquez to summon the libretto for one of the records of the year in COLLA VOCE. With Maria Reich on the violin and viola, Anil Eraslan on the cello, Tal Yahalom on the guitar and Moritz Baumgärtner on drums and other percussion providing the accompaniment and the JACK Quartet comprising the violins of Christopher Otto and Austin Wulliman, the viola of John Richards and Jay Campbell on cello in Dunston’s own words ‘exponentially multiplying resonance and mass’, the Brooklyn composer enlists four outstanding vocalists in the form of the frequent Fire! Orchestra collaborator Sofia Jernberg, the latinx improviser Isabel Crespo Pardo whose levitational poemsongs with Henry Fraser and Lester St. Louis shone brightly on la espalda y su punto radiante earlier this year, Friede Merz who ‘masters the rare art of being in several places at the same time’ and Cansu Tanrıkulu who expands her vocabulary through the use of live processing.

Produced by Weston Olencki, who recently took a sojourn into the staggered heart of Cajun isolation for Longform Editions and sees the blues in every colour from ramshackle steel fabrications to deep azure, COLLA VOCE is full of fractured choruses, sub-operatic swoons and jowly or creaking glottis as the four vocalists use every outcrop and every inch of their orifice, from an inlet and aerated larynx to the tongue as a motorcycle ramp and snarling or puckered lips, often shaping the mouth for its percussive possibilities. Meanwhile strings sometimes crisply articulated steadily congeal into fraying and ominous drones, a fledgeling tornado which starts kicking up dust with a rasping sound as it gusts and swirls.

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Susanna – ‘Everyone Knows’

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Bobby Would – ‘Explain’

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Laraaji & Kronos Quartet – ‘Daddy’s Gonna Tell You No Lie’

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Isaiah Collier & The Chosen Few – ‘Compassion’ (feat. Ari Brown)

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Nick Dunston – ‘Blinding, Joyous, Fearful’

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Tomeka Reid Quartet – ‘Sauntering With Mr. Brown’

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Oded Tzur – ‘Renata’

* * *

Tems – ‘Love Me JeJe’

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pigbaby – ‘Texas Girl’

* * *

Esecutori di Metallo su Carta – ‘Synchronia in quartetto op. 80b’

Christopher Laws
Christopher Lawshttps://www.culturedarm.com
Christopher Laws is the writer and editor of Culturedarm, currently based in Umeå, Sweden.

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