ILX Gonna Shine in My Backdoor Someday (new post-Fahey folk for ppl posting in Takoma/Tompkins Square threads Pt II)

A few songs in and it's completely spellbinding.

Feeding Tube is a little weird — they don't put everything up on Bandcamp (the label releases a *lot* of records), but sometimes the artists themselves will put it up elsewhere on BC.

― tylerw, Friday, October 8, 2021 9:39 AM (five hours ago) bookmarkflaglink

i want to know the 'story' with feeding tube, i know byron runs it, but i feel like there has to be some rich guy's passion money behind it. vinyl is already prohibitive to produce, let alone at the scale they do

it is pretty wild — basically an LP a week! I think the co-founder Ted Lee has sort of deep pockets from something, but I don't really know the details.

The first listen to the new one really caught me off guard, because Not So Deep as a Well was a record that grabbed me immediately, and I think the length and breadth of this one was a bit overwhelming at first, but there's enough interesting stuff going on that it keeps compelling me to go back to it.

― cwkiii, Friday, 8 October 2021 03:02 (eighteen hours ago) link

It def took a few spins for the new one to sink in but I played it the other night and it really clicked.

Feeding Tube deserves a Nobel Prize for doing the Spielgusher 2xlp

haha yeah

this feeding tube 2021 release fits in here, can't remember if it's been mentioned here: https://feedingtuberecords.bandcamp.com/album/the-dreaming-bridge

and similarly, the new Rolin / Powers / Gerycz is excellent: https://geryczpowersrolin.bandcamp.com/album/lamplighter

yes, big fan of the Powers/Rolin/Gerycz axis and all of their releases

What in the Natural World is really nice!

Isn't it gorgeous?! I'm a sucker for that open, ringing Tele sound.

Speaking of gorgeous, the Gendron album is a stunner.

the band global and i are in got to open for william tyler and marisa anderson last night in st. paul.

what an amazing show, you must go see them. did the excellent new duo album and also a cool arrangement/melody of dvorak/stephen foster melodies

Congrats that's so cool!

yeah was an honor, and they were super nice and cool to us (not unexpected but still always nice when it's people you admire)

near as I can tell, William T. is one of the nicest dudes out there doin' it.

Marisa is the best as well, having met her several times. great people.

They were both really nice and polite with the sound guy and everyone that worked there which is a big tell on what a person is like imo

extremely otm

That's so cool. Congrats!

V cool! Does your band have anything recorded?

Not really anything that's ready at this point, we did some multitrack recording in the basement pre COVID but haven't been mastered

this show was recorded on reel to reel but not digitized yet

This was p cool:
https://www.youtube.com/watch?v=nKDoVuG7uZ0

i missed her live in my area a few weeks back and now i wish i hadn't.

i liked but didn't love the album, but that video was lovely and i want to support her regardless of how much i like the music. (plus, i think it's growing on me. or maybe i'm just fuckin' stressed and need it right now.)

Hey we were just talking about this guy

https://pitchfork.com/news/jake-xerxes-fussell-announces-album-shares-new-song-love-farewell-listen/

This was shared on Reddit within the past day or so:

Jack Rose - Live at Routure, Portland, OR (2007)

It looks like the label/mastering studio Sound-O-Mat is going to also be reissuing two other Jack recordings that have been listed on Discogs for years but never really saw a pressing of more than a dozen or so CDRs at the time of release. This includes the 2001 "Portland, OR" CDR that has been mis-titled on Wiki and elsewhere as "Hung Far Low", as well as the 2003 Ironto, VA CDR. Gonna follow their IG @sound_o_mat to keep up with what's to come.

And by "reissuing", Sound-O-Mat means that they'll be put up as a free download, like the Routure recording above.

Hey everyone, hope all is well out there. Here is something I came across late last night, while stressed out as ever. It's not strictly in the soli guitar canon but rather rooted in our shared collective side quest for all things acoustic drone with rural tendencies. The sort of band that would share a bill with a late aughts solo guitar player. It's a New England type record, both physically and sonically, and in the vein of the kind of stuff I fell in love with over ten years ago. It's great stuff, and maintains the idea that you can still turn out unique work within this area. The best music is new music, as always.

https://lobbyartrecs.bandcamp.com/album/country-tropics

Hi Neal, plz check the Brightblack Morning Light thread :)

This is lovely, Neal Cassady, thanks for the heads-up. Reminds me of Scott Tuma (catnip to me, basically) and the Dead Tongues record from a couple of years back, albeit at about three steps of abstraction. Not surprised to see Andrew Weathers' name in the small print.

yeah this is nice on a frosty MN morning

think i can hear some e-bow on the acoustic + a slide to fret? that's a great trick to get some pretty crazy noises from an acoustic guitar. it can feedback and make all kinds of microtones

hey neal! thanks for sharing

does anyone know how ignatz records his guitar? it's so dry yet psychedelic, i find it very compelling... is it just an amp DI'd to a tape four track?

Love Jake Fussell's music, but does he not write at all? No shame in that, just curious. If he has released originals, I've missed them.

ah shit, i see the new one has some. never mind!

the originals on the new one are instrumentals (and fit very nicely in this thread, I think)

Hey all, been a while. Took a long break from ILM but just hear to say that that Old Saw "Country Tropics" record is indeed really nice (got it a while back). Henry Birdsey, who is in the band, works a lot with just intonation tunings etc., so that might be why some of the microtonal action is apparent on it (as suggested by global above). He has a duo called Tongue Depressor with Zack Rowden (member of Crazy Doberman and guy who gets up to a lot of stuff generally) that has some really good stuff too, really grainy string-based drone on various instruments. Good folks to check in with if you like that kind of thing.

hey grandavis! good to see you

thanks for the recommendation will check old saw out

Hey UMS! Neal is the one who originally made the recommendation (the link is just a little up the thread) but I definitely second it. I have a couple of friends who ended up in New Haven, where Birdsey definitely worked out of for at least a little while, so have been following related activities for a bit. Nice to see them keep rolling out good records.

cool I don't know much about it will have to check

hope you are healthy and doing well

hey grandavis! yeah same, wishing you the best

Awww thanks Sleeve and UMS. I am doing alright all things considered, hope you are as well. Just been spending less time online if I can, and ILM was one of the things that took a hit. Always a fan of this thread and those of you who check in here of course.

hello grandavis!

been digging Old Saw as well — definitely in the Pelt zone, but with some differences too.

More of that Jack Rose rarity stuff has dropped — all pretty great: https://new.sound-o-mat.com/downloads.php

and though most of this is probably familiar to y'all, I'll just leave it here: https://aquariumdrunkard.com/2022/01/04/new-transfigurations-recent-recommended-21st-century-guitar-music/

Oh cool, that is a good list. A couple of things for sure I haven't checked out yet.

Old Saw album sounds v nice.

Mary Lattimore & Paul Sukeena

West Kensington

Three Lobed Recordings

20 May 2022

It is shocking what your mind will choose to forget. Almost always it needs a tear, a clean dash, a straight passage into what you’ve already known. Looking back, West Kensington has achieved that very goal: creating a landscape for memory, an imprint of that horizon, suspended in the cosmos.

I heard it in real-time, percolating against our shared apartment wall. The assembly of sounds was a comfort; a welcome change during what felt like a fresh era entirely. Like the comets we see every so often, it’s the streak of some long-ago awe that we try to comprehend. So much space, so much reach and so far; so much weight hanging in the dark sky. And the reasons we missed the comet – and why – become the moments we remember most.

Welcome to The Unknown. “Hundred Dollar Hoagie” is a slap across the face, our new normal. The weight of Lattimore’s harp is our hull, her tones steadying the ship’s course. Sukeena’s guitar is our intrepid guide, as terrified as us. All at once, the things that seem so familiar, appear so far away. The mid-record swells for “Didn’t See The Comet” like a hall pass for a coastal drive. The chimes in “Flaming Cherries Jubilee at Antoine’s” tell us it’s going to be OK. Permission to land has been granted. The ambient noise dissipates and like a futuristic prelude to Koyaanisqatsi, the chords of the harp conjure a feeling of togetherness and intentional greeting resembling Philip Glass after loads of red wine. These are the tiny holes in the dark.

…Time as a constellation.

A constellation is only recognized when its stars are aligned: those bright spots, seemingly neighbors beside each other, yet billions of miles apart. The matrix of light is abstracted and creates a new name. What if our memories did the same? Our stained fingertips made stained fingerprints on our foreheads from the garage wine we made together. The cosmic blue-tipped crest of the waves on that warm night, all aglow but not for us. Our memories as gas giants, fleeting supernovas that when glared at, only become more intense and abstract.

In “Altar of Tammy”, the sky sinks to indigo and we know there will be another one of these days. Sukeena lets his guitar drone…reminding us of this truth. Like a forced smile, Lattimore swings her notes where our hearts want to go: there can’t only be darkness – there can’t only be smoke. We can’t be the only ones in this expanse, gaze fixed. There is an absence of ‘noise’ here, aside from the click of a pedal. Where did we go in 2020? What did we do? Why did we cry together, on the porch, looking out? On the days we couldn’t go outside, West Kensington is proof there was music created and it felt like something real; and the jacaranda tree had a soundtrack to drop its leaves to.

…Things had better work here, because here is where we run out of space.

As we reach the end of the journey, “Garage Wine” arrives. Here is a glimpse of hope and a nod to the freedom we never saw coming. We traveled so far and have reached the edge only to realize that there was never a map. We were only using our gestures as directional guides, our hands moving toward one another in hi def. Using these earthly makings of strings and tubes, West Kensington takes us to that cosmic latitude of memory, and the ride is a healing one. As it goes with the passing comet, the songs are a reminder that we are here, making those vibrations into nothingness together. And it is brilliant.

Nicky Devine

January 2022

Saw Glenn Jones play last month. My wife thought he was great (I thought he was pleasant enough). Opener Jordan Perry was more jazzy

https://richardthompson.bandcamp.com/album/music-from-grizzly-man/

Great stuff

I haven't even seen the movie but that album is really good! Reminds me of Frisell.

I don't know if he completely fits in with this thread, but I've been blow away by the Duncan Marquiss (formerly of the Phantom Band) solo album, sort of like Bert Jansch gone Popol Vuh.

yeah that record is fantastic — definitely has some Bad Timing moments.