From the family tree of Red House Painters/Mark Kozelek -- one of my favorite artists -- comes the fifth Desertshore album, Arc of an Arrow Blind (Darkan Records). This is a wonderfully engaging instrumental album of sublime depth and beauty. Think of a more textured Red House Painters or Sun Kil Moon with arpeggiated guitars and piano/keyboard riffs with the bass and drums anchoring the proceedings in various rhythmic rock, jazz and even hypnotic world beat patterns. (Check out "Descend Like The Sun.")
Happy 4th of July! Celebrate and be safe! peace, Your Friends at Culture Catch.
Joining such memorable events as Ornette’s week at Lincoln Center in 1997 and the celebration in his honor at Celebrate Brooklyn which was the last time he played in public and which is now documented in an incredible box set alongside the memorial held for him at Riverside Church and Wynton's own celebration of Ornette at Lincoln Center will be Ornette Coleman: Tomorrow is the Question, July 11–16 as part of their yearly indoor festival. There will be a four-part series honoring Ornette's work as a composer, innovator, and performer.
On Sunday, LeAnn Rimes proved once and for all that she has outgrown the child prodigy country music label that launched her career at age 14(!) with the release of the mega-hit record "Blue," making her the youngest artist ever to win a Grammy (she won two).
Some artists transcend description, best they are not compartmentalized into a specific genre of music. Miss Melanie De Biasio is a Belgian artist that incorporates jazz, classical, nufolk, even electronica into her musically rich vocabulary to create her truly unique and atmospheric sound; not unlike Sigur Ros or Bjork or Joni Mitchell's jazz-informed work in the late '80s. This song was released on her 2014 album No Reply, an album I just got turned on to by my dear friend Michael Naso. This version of the song features strings and was recorded in a cathedral in Brussels. The arrangement is fantastic and it features a wonderful Gregorian contralto co-vocal by Romain Dayez. In fact, as much as I like this string-driven version of the title track, her song "The Flow" from that album is even better. It's got a killer groove. Think '70s era Gil Scott-Heron. And if that wasn't enough to take in, her new effort Lilies drops on October 6th. Check out her new single "Gold Junkies" -- one of the tracks from that album -- here. Take a deep breath and enjoy her wonderful music. I suspect the rest of America will be catching up with this extremely talented artist very soon. peace, Dusty
Lynn Castle Rose Colored Corner Light (Light In The Attic)
Coming across visually as a prototype Nancy Sinatra about to enter The Valley Of The Dolls, Lynn Castle in the 1960s was an entrancing and beguiling entity. Her debut album finally appears a few years shy of her turning eighty, and it is a tremendous affair, an index of splendid and unrealized possibilities, as stark as it is haunting.
Much is being written that Nick Cave's current tour of Skeleton Tree may be his best yet. Seeing Mr. Cave and The Bad Seeds' performance last night at the Beacon Theatre in New York City, I would agree. Playing every song from that album except "Rings of Saturn" plus another eleven classic songs (set list here) from his catalog, it was a show that will be difficult to rival by any touring act this year or quite possibly until Mr. Cave decides to tour again. Quite remarkable given that he's a few months shy of his 60th year on Earth.
I was stoked have scored a ticket for the limited-run (one week) theatrical screening of the new Grateful Dead documentary at IFC Cinema in the West Village. A four-hour love fest for Deadheads young and old, and more importantly for those music fans and the curious who just never got "it" and what it means to be a Deadhead. Expertly handled by director Amir Bar-Lev, there is so much to mine here that I can't imagine how much was left on the cutting room floor. (Props to executive producer Martin Scorsese, too.) Jerry's Frankenstein story frames the movie in a way that initially seems odd but by the end of the film makes perfect sense. After all, like the Monster, the band was "assembled" by the various parts (members, friends, fans, staff) that comprised it. Messy, joyous entropy in action; seemingly random, but actually spiritually connected on a very profound and metaphysically level. This could have easily been a 6 - 8 hour mini-series. Heck, I could have watched another hour just on the various keyboard players that brought their craft to the Dead. Or how the band would curate their set lists from show to show, never repeating a set list while on tour. But these are minor quibbles. This is a must-see film.
Fifty years on and it is time to remember one of the most innovative albums ever impressed onto wax. A delicious dark and jagged confection of nihilism and sulky sophistication unlike it's Liverpudlian counterpart Sgt. Pepper's Lonely Hearts Club Band, also now fifty, but which was sunny, funny and a bit vaudeville. Both represent a pair of wildly different bookends. The Velvet Underground and Nico was then a monumental, commercial flop, whilst the Beatles album sold in the millions. With half a century under its belt of shiny studded leather, the Velvets album now has an arc of influence that continues to reach into the hearts of those who wish to create a positive noise.