Revolt of the ILX Brigade: New Post-Fahey Folk For PPL that post in the Takoma & Tompkin's Square Threads

I can never do this right

Heard something very nice on WFMU this morning, "Division/Separation" by Suborno. Turns out the album (The Instrument) is on Spotify. Acoustic guitar, spacy/psych elements.

http://open.spotify.com/album/1vNsKFc7Sr8clWrF4icIYb

I know Ash! Tremendous fellow. Unfortunately, he's pretty much decided not to make any more music, which is madness, but there we are. He's made some great short films recently: http://www.ferventarts.co.uk/

Enjoying that Mance Lipscomb Neal, and to be honest I have come around to standard a bit due to access to a 12-string (which I am not allowed to tune out of standard too often cause my wife plays it in standard and hates tuning it back). I love watching players like Mance though, looks so effortless for him and yet it is detail-rich playing.

Neal: try "http:" instead of "https:" when posting videos, it should embed then.

just got an email from tompkins square - "James Blackshaw returns to Tompkins Square with a new album, Fantômas : Le Faux Magistrat, available worldwide July 8th." Guess it is a score to the Louis Feuillade film.

people forget how good standard tuning is, it's like air or the english language

I tell you, playing a 12-string in standard tuning does way more for me than on a 6-string, but yeah it has got me back in-line with standard tuning for the first time in a long time, but really only messing around at home.

James Blackshaw returns to Tompkins Square with a new album, Fantômas : Le Faux Magistrat, available worldwide July 8th. In celebration of the centenary of Louis Feuillade's Fantômas silent film series, Blackshaw was invited to perform a live score to the fifth and final film, Le Faux Magistrat, within the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013. Features Duane Pitre and Simon Scott (Slowdive). Explore five other Blackshaw titles in our Catalog.

Ryley Walker is on tour with Cloud Nothings and then off to Europe for festivals such as Lunar, Roskilde, Gagnef and more. His debut album, All Kinds Of You, has received wide praise from the likes of NPR, UNCUT, Washington Post, and from actual people. Ryley will be featured on NPR's World Cafe next month. http://www.self-titledmag.com/2014/04/08/stream-ryley-walkers-all-kinds-of-you-album-and-read-his-commentary/
BUY the LP/CD.

We reissued a Dillard Chandler LP for Record Store Day. The North Carolina folksinger recorded two sessions for John Cohen in 1963 and 1968, resulting in the super rare 1975 Smithsonian Folkways LP, The End Of An Old Song. Our LP quickly sold out, but we have one box left for our mailing list friends at the earthy price of $25 US, $40 x-US. Simply paypal us at : orders at tompkins square dot com. First come, first served.

We have released six new digital titles by Suni McGrath, Bern Nix, Terry Waldo, Harry Taussig, Cajun pioneers, and a Max Ochs tribute album. These are now available via every digital service worldwide. Learn more.http://www.tompkinssquare.com/archives/468

Lol was gonna post about how mournful and meditative the new Glenn Jones is but just realized it's a 45 I've been listening to at 33

Hah hah. I imagine you wondered what tuning he was playing in too. Some serious down-tuning ....

It's actually pretty cool! I recommend trying it

Glenn Jones - Rejected Wherever I Go

http://i1.sndcdn.com/artworks-000060012016-muouot-original.jpg?164b459http://freemusicarchive.org/file/images/artists/Glenn_Jones_-_20130725152628515.jpg?width=290&height=290

I used to do this all the time, especially when I did a late-night radio show. Solo guitar records I imagine work really well with it, I should totally try it.

Wrote about William Tyler and Steve Gunn's rock music.

good stuff, edd! would love to see that show...

the second song on the first side of this live solar motel rsd release is so good that it made my heart race
just the right combo of heavy and intuitive/pretty
loooove the whole thing, so glad i bought it and also saw the show when it was the middle of winter and getting out was a bit of a challenge
also so glad there are no words in these songs

it's out!! (??)

http://www.amazon.com/dp/1613745192/ref=cm_sw_r_tw_sce

my friend tony gave me a copy of this today and man oh man is it good. very lysergic acoustic stuff. love it. on the vin du select qualitite label.

https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-ash3/t1.0-9/10152421_10153014878552137_3055943062060902905_n.jpg

i want everything they still have in stock, but i have spent so much money on records lately, i just can't do it. and it is a total blink and you missed it label. snooze/lose situation.

http://www.vdsqrecords.com/

Damn. Tempted to buy just about everything they've got on there... never heard of this label, super cool aesthetic and curation, it seems...

yeah it's a cool label & was particularly interested in hearing the mark mcguire but there's no way I can justify spending $35 to get an album sent to me in 2014

I think I mentioned this upthread, but if you guys don't know already, the guy who runs VDSQ is the same guy that wrote the Fahey book that Global Tetrahedron just posted a link to (and has been discussed here).

Those VDSQ records look cool as hell for the most part but like Ogmor I am not in a position to buy any of them right now, nor the Solar Motel Band live record, though I am mostly fine with the bootlegs I have of that band so far (La Lechera, I am right on board with you in the ways that that band delivers).

so excited, my copy of the bio just shipped! I thought it didn't come out until June for some reason

cool i gotta order that book.

nice seeing you at Loop global!

wrote a new song i'm pretty pleased with, feel like the overall structure is really sound...was trying to write something like james blackshaw but then i think i've been thinking about slint a lot lately because the thread has been revived and listening to spiderland and it kind of occured to me how there's a lot in how i approach my playing from bands like that, that stuff got so into my DNA, even moreso than fahey and stuff like that....title swiped from "i am a cinematographer" by palace/oldham

https://soundcloud.com/matthew-lee-helgeson/you-could-walk-away-from-louisville-alone

totally! bummed they blew out their amp, the show just kept getting better and better. oh well, i had a great time.

the bio is great so far, don't wanna 'ruin' too much of the book for anyone but favorite little nugget so far is that Fahey called New Age music 'hot tub music' which cracked me up. getting to his 80s era right now, feel like that's the most under-covered aspect of his career. sort of morbidly fascinating. he could do some crazy shit.

good song, i like the chord voicings that come in around 2:00

Yeah UMS, cool song. I agree with global about the bit around minute 2, and that whole passage through to the turnaround at 3:08-3:14. I really like that turnaround/transition, and appreciate that you just hit it and move on, as I tend to drive those things into the ground and stretch them out for minutes and minutes.

thanks guys (global: it sucked they blew that amp because my friends had seen them the night before and apparently a 15 min version of Can's "Mother Sky" was coming!!)

yeah sometimes i don't know how long to make stuff....i've sort of accepted that i'm not very good at being real psychedelic or improvisational so i guess i'm just gonna try to write songs w/good melodies and see how it goes

a producer in mpls that recorded my own bands always had this idea that the second verse and chorus of each song should be shorter than the first time because ppl had already heard it which always stuck in my head...but sometimes i don't know if i should get more mileage out of a good part

sounds good ums

i like it when a really cool moment happens very briefly, or even just once in the whole song. like, some versions of 'Some Summer Day', Fahey really roughly chops down on all the standard-tuned open strings, mutes them immediately after, and hits the A string. (especially obvious around 3:33 of 'Story of Dorothy Gooch'). that's just an awesome part, but he had the taste not to dwell on it forever. kinda makes the whole song for me. my college music buddy also said something similar about shortening verses/choruses the 2nd time around. it kinda makes sense for economy's sake!

yeah that sounds nice UMS!
just saw there's a marisa anderson folkadelphia session up now: http://folkadelphia.bandcamp.com/album/marisa-anderson-folkadelphia-session-10-18-2013

& yeah, i thought that fahey bio wasn't out for another month or so. gotta get it.

Gonna see Marisa and Mike Gangloff tonight! So psyched, gonna check that folkadelphia session out as a warm-up.

jealous. i attempted to set something up for her in my neck of the woods, but it looks like it's not going to work! grr.

Too bad, maybe she'll hit it up next tour. Hopefully my taping friend will show up to the show, will let you know if it pans out.

Man, Marisa Anderson was great last night. She had a really cool/endearing stage presence (good stories and insights into what she was playing too) and "rocked out" more than I thought she would, in that she seemed really into the show and just stretched, prodded, and roughed up the songs here and there in really interesting ways. Highly recommend seeing her if you can. Had four guitars on stage (one a lap steel) and made good use of all of them.

Also need to state yet again that Mike Gangloff is one of my favorite performing musicians these days. He played a great set with his wife (who mostly played hurdy gurdy), moving between his open-tuned fiddle stuff, a little banjo, harmonium, and some a capella singing with Cara joining in. Ended the set with about ten minutes of gong/resonating metal, which capped it well. The mix of fiddle and hurdy gurdy was just so damn good.

nice, sounds like a great show and that i need to move to virginia.
listening to that anderson radio session, yeah, it seems like she gives herself plenty of room to play around with the melodies/tempos/etc. really a master of her approach!

Hah VA is awfully nice right now (minus the 3 days straight of rain we had that caused flodding etc.). I sure hope folks keep touring through here, cause it makes a huge difference to my quality of life/feelings about this town. But sure, head on over, we could use a few more folks at those shows!

And yeah, Marisa seems totally comfortable tearing the songs apart or playing them straight and seems to have fun moving between those two poles.

I really dug her lap steel playing, she looked like she was having so much fun with it and threw in all kinds of cool whilst managing to have it fit in the context of what she was doing overall. Not all of these folks are exactly "fun" to watch, as good as they are. She was fun.

"cool shit" that is

Can we talk about how horrible the Fahey comps on Spotify are? They're these dodgy things with really horrible cover art, mislabeled tracks, and some have this shit sounding fake reverb on em, AND they're the first results when you search for Fahey. How does this even happen, and is someone making money off of them? Because I'd pay for them to go away, honestly.

All the cover art is horrendous, but this one takes the cake, conceptually and aesthetically:

http://i.imgur.com/WvfOA1a.png

wow! that is kind of messed up.

lol, idk what copyright laxity has made him particularly vulnerable to this dreck but it makes it v hard to use. I made playlists of his actual releases (lots not on there ofc) which I've never had to do for anyone else

http://i.imgur.com/wGKbkdP.png

looks pretty definitive

Whoa. How DOES that end up on Spotify? Can you just throw a playlist together and call it an album and make the 50 cents a month in royalties you would get from this kind of thing?

Can we talk about how horrible the Fahey comps on Spotify are?

^^i don't know what it is but these are all over spotify for tons of people, search any major jazz artist and you'll see the whole discography cluttered with this shit

at least on the jazz side i think some of them are dodgy european comps

Must be some kind of enterprise where they make a ton of these things to make it worth decent $$$, cause generally no one is getting paid by Spotify. I would think that you would need a large number of "compilations" to have it pay off at all, but they have gamed the system to get easy plays when searching for an artist. Very weird though.

must be something weird having to do with various labels selling off "digital rights" or something?
it does sort of seem like chaos reigns with a lot of that stuff, classical especially.