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We made it to 700 episodes. While it's not a special episode per se—commemorating this milestone—you can pretty much assume that every episode is special. This one features Mark Spybey & Graham Lewis, Brian Gibson, Sote, Scanner and Neil Leonard, Susumu Yokota, Eleven Pond, Frédéric D. Oberland / Grégory Dargent / Tony Elieh / Wassim Halal, Yellow Swans, Dental waste in Saigon photo by Krisztian. Get involved: subscribe, review, rate, share with your friends, send images! |
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Austinite Michael "Thor" Harris is practically a modern day renaissance man: multi-instrumentalist, painter, art and bicycle repair instructor and environmentally conscious DIY home builder. He has appeared on many others albums and performed live locally and nation-wide, but he's probably best known outside Austin city limits as percussionist for Michael Gira's The Angels of Light.
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Tiger Saw are from Newburyport, Massachusetts, or, at least, that's where they began. After writing most of their debut alone in Los Angeles, Dylan Metrano brought those songs home to Newburyport, where he found like-minded souls to help him bring those creations to life. In listening to their records, it seems he found more along the lines of kindred spirits who were lying in wait for this sound to come along. It is not a wholly original sound (are there any of those anymore?), as Tiger Saw play primarily slowcore music in the vain of Low or 27. But it is a new twist, as most songs possess a jazz structure, but a rock-like instrumentation. And it is a lovely listen.
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Mark Nelson has shed some layers for the latest full-length release as Pan•American. No longer is he trading tapes with friends like the first or recruiting other players to guest like the second album. Much like the last Labradford album, this time it's all him. For those who have been following his career with the various singles and compilation track contribututions, the sound should come as no surprise. The influence from various other "micro-house" type people can be felt as there's more non-musical outside sounds like underlying electronic hiss, clicks and pops. What separates Nelson from the rest of the crowd is his undeniable talents as both a great musician and composer. Despite the overall quiet nature of the disc, his subtle synthetic organ melodies are lush and involved, inviting and even sexy. I'm almost embarassed to admit that 'The River' makes for a great record to underscore quite a romatic evening to. While many other uses can include schoolwork, housework, or quiet time, it is a fascinating album to completely tune the world out and zone out to. Yummmm.
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