#gastr

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[allonsss]

[dustedmagazine]

Listening Post: Gastr Del Sol

Photo by James Crump

Gastr Del Sol was the convergence of two individuals who had not spent their youths like anyone else and were on their way to lives quite unlike most lives. Between 1991 and 1998 David Grubbs and Jim O’Rourke made a sequence of records that simultaneously pointed out what a lot of music listeners were missing and where music might go next if it was really interested in being interesting. Grubbs came from Louisville, Kentucky’s hardcore scene; he played in Squirrel Bait while he was in high school, and took Bastro with him to college. Jim O’Rourke grew up tracking down recordings from the far reaches of every fringe and then setting about making his own place within each method he learned. Before he was out of college, he’d already made connections with Henry Kaiser, Derek Bailey and the folks at Ina GRM. Each was a guy who knew what the other did not, and their collaboration pushed both to make music that they would never make again with anyone else.

Gastr Del Sol began when Grubbs decided to let Bastro get quiet, and made one LP before O’Rourke came aboard. Their first album together, Crookt, Crackt, Or Fly, was assembled from miniaturized poetry, elongated post-punk riffs, frozen improvisation and fluid, texturally-focused compositions. Their last, Camofleur, is a droll pop statement completed just weeks prior to the collapse of the duo’s relationship. The acrimony between them took a couple of decades to die down, but around the same time that they buried the hatchet, a live recording of their final concert surfaced. We Have Dozens Of Titles shuffles together that performance plus every compilation, single, or EP track that Gastr Del Sol released outside their core Drag City discography.

Intro by Bill Meyer

Jonathan Shaw: I have admired Gastr del Sol from a sort of distance. I like “At Night and At Night,” from the terrific Hey Drag Citycomp; I know Upgrade & Afterlife quite well and dearly love “Dry Bones in the Valley...”, the Fahey cover collab with Tony Conrad. The first song on this new-ish record sidles in alongside those wooden textures, but is a more anxious affair. I like that it never quite boils over or takes its propulsive energies to catharsis. It’s sort of a complement to the conversation with the French kid blowing up firecrackers at the track’s close: it can’t quite move forward, in spite of all of the things that want it to.

That’s also a handy metaphor for my relationship to the music. When I have listened to Crookt, Cracked..., I get the sense that these are really, really smart folks, doing some smart stuff, but I haven’t quite connected with and moved into the sounds. They can be forbiddingly remote. So, I am glad for this record, and its invitation to revisit the band’s trajectory.

Bill Meyer: Each record is so different that I can easily see someone liking one and not likening others, and if you held a gun to my head, Upgrade & Afterlife is the one I would name as my favorite. Which makes it all the more interesting that this collection spans their existence from O’Rourke’s first presence (the Teenbeat single — and it’s pretty amazing that they ended up on that label) to the very last concert (that trip is probably when the encounter with the Francophone child occurred, since the concert was in Quebec).

By virtue of its length and timespan, We Have Dozens Of Titles shows more sides of Gastr Del Sol than any other record.

Bryon Hayes: I think that’s one of the band’s traits that I find appealing, that their sound and approach shifted from record to record. “At Night and At Night” was my introduction to the band, and it also seems to encapsulate multiple faces of Gastr Del Sol in a single track: a drone intro, followed by a guitar/poetry passage, and then a dollop of minimalism accompanied by backwards cymbal splashes. I bought Hey Drag City for Pavement, Silver Jews, and Smog but was introduced to some new and intriguing sounds across the whole of the comp. That track, and Gastr Del Sol as a whole, always felt like a riddle or a logic puzzle to me, albeit one that continuously changed, so it wasn’t possible to “solve” it. But I actually like that fact: the thrill of the act of investigating is pure enjoyment itself.

I never did get to experience Gastr Del Sol in a live setting, so those tracks on We Have Dozens of Titles are particularly revelatory for me. I like the more stripped-down setting of “The Seasons Reverse,” for example. Maybe even more than the version on Camofleur. I’d also bet that the field recording of the kids came from Victoriaville. The town is far enough into Quebec that it’s likely there was a language barrier between O’Rourke and the local youth at the time. Also, the drawn-out version of “Blues Subtitled No Sense of Wonder” feels much fuller and richer in the live setting than it does on Camofleur. I’m not saying I dislike that album, but I too would pick Upgrade & Afterlife as my favorite...

Bill Meyer: Because I lived in the same town as Gastr Del Sol, I was fortunate to see them a lot. The concerts were pretty different from one another, and didn’t always sound much like the most recently released record. When they played with John McEntire, things could be more rock-ish, and I have one fond memory of them getting pretty wild with the feedback. Afterwards O’Rourke seemed embarrassed, like he’d lost control and done the wrong thing. There was room for spontaneity, but they were not an improv act. In 1997 they did lock into the two guys with two acoustic guitars thing for a while, probably because they had a fair number of out-of-town gigs in their later years; they didn’t necessarily want to lug a lot of gear around.

Another aspect of living in the same town with them was seeing the other things they had going. O’Rourke could often be seen accompanying someone whose work he championed (ex: Rafael Toral), and they both played with Red Krayola (although O’Rourke bailed for a while and Grubbs kept going), Edith Frost, and Arnold Dreyblatt.

Jonathan Shaw: Never saw the band, and the live material on this comp is what’s impressing me most. Given my proclivities toward their work with acoustic guitars, I am most compelled by “Onion Orange,” which works a space between gentle and tense to very satisfying effect. The repetitive sequence of notes in that initial six-or-so minutes is really engaging; it invites anticipation, flirts with letting that become apprehension. I can imagine that would be even more powerful in a real room, with the players really making the noises in front of you. But even here, via the mp3 I am playing on a device, it’s strong stuff.

Bill Meyer: I still need to a-b that with the original on Grubbs’ solo album.

That album, Banana Cabbage, Potato Lettuce, Onion Orange, seems not to be on Bandcamp, and Table of the Elements is long defunct. I’ll have to pull out my CD and play it. On the original edition, Grubbs plays everything, but O’Rourke recorded two of the album’s three tracks. I remember it being very still, a Grubbs take on Morton Feldman. What you hear in this live performance, Jonathan, is probably what makes me think I like this new version better than the original. There’s a management of tension that probably comes from two people playing it together in real time.

The way that We Have Dozens Of Titles is sequenced, with live tracks littered throughout the collection, makes it easy to forget that we’re hearing a complete set here.

Ian Mathers: There’s a relatively well-known tweet (for those of us that are too online, at least) where a guy who’s only ever seen one movie sees a second and immediately compares it to his only experience. As someone who’s never heard Gastr del Sol before (although they’ve lingered somewhere on my impossibly long “get to this someday” list) and only really knows Jim O’Rourke’s work via his Bad Timing album, I had my own “Getting a lot of ‘Boss Baby’ vibes from this...” moment playing the opening live version of “The Seasons Reverse.” The guitar playing there immediately put me in mind of Bad Timing, which isn’t a bad thing! I was slightly relieved when this compilation pretty immediately shows off different aspects of his and Grubbs’ sound, even in the other live tracks.

And while I did enjoy all of We Have Dozens of Titles, enough so that I’m wondering based on the comments here which of their albums I should check out next, the live tracks do feel like a cut above everything else. I’m probably going to try listening to just them, and while I respect the choice to scatter them throughout this release despite being one show (do we have any idea if they preserved the order of the setlist, or jumbled that up as well as splitting them up?) there is a part of me that wishes it was a separate release. Which is kind of silly, I know — absolutely nothing is stopping me from just playing the live stuff whenever I want, and I’m very glad to have the rest of the material here. My first question for those more knowledgeable: is the album version of “Blues Subtitled No Sense of Wonder” as amazing as the live one here, and should I make that my next stop?

Bill Meyer: If you like the live version of “Blues Subtitled No Sense of Wonder,” you definitely need to check out the studio version. For that reason, I’d point you to Camofleur and then suggest that you work your way backwards through the catalog.

Bryon Hayes: The album version has beautiful vocal harmonies with lyrics that are dryly humorous; the title of the box set is derived from them, actually. The music on the box set version feels fuller and louder than that on the album, the electronics bolder and noisier, accompanied by rich organ tones. Also, that interlude of shouted movie dialogue (or whatever it is), is not in the Camofleur version. Both are appealing, but I enjoy the live version slightly more. If Grubbs sang on the live version, it might be the clear winner for me.

Ian Mathers: Interesting, thanks for the tips! If I’m remembering correctly, there’s no vocals on this collection for at least a while, and I was slightly nonplussed when they came in; not bad, certainly, but it felt slightly out of place with the music. (I was working while listening, which might be the culprit there.) I’ll be interested to A/B the two versions and see what I think.

Bill Meyer: I just drove past the Lyon & Healy building at Lake and Ogden, which prompts the question — what do you make of “The Harp Factory On Lake Street”?

Jonathan Shaw: I sort of like it when there are vocals — in part because of the poetic nature of what’s sung (see “Rebecca Sylvester” on Upgrade & Afterlife), in part because it feels grounding in musical contexts that frequently get very abstract.

Bill Meyer: I like the way you frame that, Jonathan. Grubbs’ words do have a way of anchoring part of the music, bringing a sonic fixedness that contrasts with the music around them, but also introducing an uncertainty of their own because of their sometimes-oblique content.

Roz Milner: I’ve just been lurking this thread. I’m not familiar with this group, although I do like what little Jim O’Rourke’s music I’ve heard (Bad Timing, Happy Days). Any recommendations on where to start with them?

Tim Clarke: I’d start with Camoufleur, which is easily their most accessible album. I have a bit of an uneasy relationship with Gastr Del Sol. I got into them soon after I became obsessed with Jim O’Rourke’s Eureka, but it was quite a shift in tone from that album. I do enjoy Camoufleur a lot, and the album versions of “The Seasons Reverse” and “Blues Subtitled No Sense of Wonder” are, in my opinion, far superior to the live versions on We Have Dozens of Titles.

Gastr Del Sol are quintessentially experimental, in that much of their music sounds so open-ended, as though O’Rourke and Grubbs are constantly wondering what x would sound like played at the same time as y, whether it’s an open, suspended acoustic guitar voicing alongside a sour synthesizer drone, or some piano with some field recordings or samples. Upgrade & Afterlife actually freaks me out! The first time I listened to it after buying it from Rough Trade in London, I couldn’t venture past the opening track as a massive gnarly insect flew in through my open window while I was listening to it on a spring evening. It scared me so much I don’t think I’ve revisited the album since. There are moments on We Have Dozens of Titles that are truly magical, so I think I’ll have to get over my fear and revisit Upgrade & Afterlife after all this time.

Christian Carey: The timing of this release is interesting. David Grubbs was just appointed Distinguished University Professor by CUNY, the highest faculty distinction possible. In addition, he was just awarded the Berlin Prize, and will be in residence there next year. Wonder if the awards might have helped to fund the recording project.

Jonathan Shaw: Distinguished Prof at CUNY — pretty swell. Makes sense. Some of Gastr del Sol’s headiest stuff has the feel of the “experimental,” and in ways that engage the connotations of knowledge and concept in that term (which often gets used lightly and lazily, IMHO). That might have something to do with why I like the live tracks so much. There’s an organic quality to them. Still thorny and challenging music, like the ebbs and flows that make “Dictionary of Handwriting” disorienting and strange. But it’s happening. It’s made, not just thought or assembled.

Jennifer Kelly: Once again, not super immersed in this band, though I had a copy of Crookt, Crackt or Fly at one time, which I can’t find and don’t remember very well, though I’m listening to it on YouTube right now, and the combination of Grubbs’ wandering vocals and aggressive, stabbing guitars seems familiar-ish. So, coming to this a bit cold, though I’ve enjoyed Grubbs’ more recent work with Ryley Walker and Jan St. Werner — and there are definitely some common threads. Nonlinearity, an elastic sense of key and rhythm, a haunted room kind of aesthetic.

I found this track-by-track exposition at the Quietus, which I was trying to read as the songs came up and it’s quite good. I especially liked the paragraphs about “The Bells of St. Mary’s,” written for what sounds like a truly bizarre Christmas comp with Merzbow and Melt Banana on it. Gastr del Sol’s lone concession to the holiday form was sleigh bells, though Grubbs says the main reference was to “I Wanna Be Your Dog” not “Jinglebells.”

Anyway, you might enjoy this.

Tim Clarke: In addition to the Quietus piece, this recent podcast interview is also very enlightening in regard to the history of the band. A rare opportunity to hear Jim O’Rourke chat lightheartedly too.

Having spent more time with the album now, I realize that my listening gets derailed by a couple of Grubbs’ and O’Rourke’s tendencies with this music. The first is when Grubbs does a kind of scat singing that follows the spiky contours of the acoustic guitar parts. And the second is when they retreat into near silence.

Bill Meyer: Near-silence is an O’Rourke strategy to make sure that the volume is set high enough when you get to the loud part.

Christian Carey: I’m curious what connections to later projects people hear in the recording. As TJ mentioned, there are some mannerisms that seem to forecast avant moves by both Grubbs and O’Rourke, with greater assuredness in the idiom. The post-rock vibe is unmistakable, and I am finding the songs with connections to Tortoise et. al. to be the most compelling music-making here.

Bill Meyer: Re: similarities with Tortoise, it’s worth keeping in mind that John McEntire of Tortoise was also a member of Bastro and a key non-member contributor to Gastr Del Sol. Re: the term post-rock, I appreciate the irony that Gastr Del Sol was actually O’Rourke’s entree into rock following years of intense work in improvisation, musique concrete, etc. with people like Henry Kaiser, Eddie Prevost, Christoph Heemann and Illusion of Safety. It was his “I’m almost ready to rock" project.

Ian Mathers: Roz, if you still haven’t settled on a way to check out Gastr del Sol, I was in a similar position to you and honestly, I found this compilation a pretty welcoming (and broad-ranging) introduction! I haven’t moved on to checking out any of their albums yet, but I have played We Have Dozens of Titles a number of times, and while I’m still experiencing it more as a gestalt than I am picking out specific elements (so I’m not sure how I’d answer Christian’s question at the moment, for example), I find the time just slipping away when I do. I was reading Steven Thomas Erlewine’s newsletter recently where he was discussing this collection and he described Gastr del Sol as “music that changes the temperature of the room,” and I keep coming back to that as an apt description of what I’m experiencing.

Bryon Hayes: I read somewhere that Grubbs’ The Plain Where the Palace Stood is his solo album most similar to his work in Gastr Del Sol. I’m listening to that record now and it actually reminds me of the little Bastro that I’ve heard along with parts of The Serpentine Similar.

Bill Meyer: Gastr Del Sol’s existence corresponded with Grubbs’ time at University of Chicago, where he was getting his PhD. I believe it was in poetry, and the words he wrote for the band’s songs reflect that study.

Christian Carey: I've been having fun poring over David Grubbs’ trilogy of books and guessing which stories might be about Gastr del Sol. He's excellent at being covert, but I would be surprised if they weren't featured in some of his writing.

[wildoute]

[doomandgloomfromthetomb]

Gastr del Sol - The Point, Atlanta, Georgia, September 23, 1995

Go read Grayson Currin's great overview of the short life of Gastr del Sol — the still brilliant duo of Jim O'Rourke and David Grubbs. The occasion for celebration is the forthcoming GDS archival haul We Have Dozens Of Titles, which gathers live recordings and rarities across three LPs (or two CDs if you're nasty). I haven't heard it yet, but I'm sure it's going to be awesome.

In the meantime, I'm watching videos of this 1995 show, from O'Rourke's note-perfect rendition of John Fahey's "Dry Bones In The Valley" to the glorious grind of "Ursus Arctos Wonderfilis" (drummer John McEntire driving things along relentlessly) to the Farfisa-led "Eight Corners." So nice. All these years later, the Gastr del Sol catalog sounds even better to my ears now than it did back then — I don't think I was really ready for it back in my teenage years. But I got ready for it.

As Grayson tells us: "Though their music began with two carefully intertwined acoustic guitars, it stretched to encompass orchestral fantasias, electronic abstraction and collage sensibilities imported from the avant-garde. Grubbs’s image-rich writing felt poetic and detached. In an era of plangent indie rock, they were the studied, intricate eccentrics."

[jacobwren]

Gastr del Sol - Ursus Arctos Wonderfilis (1995/09/23)

[radiophd]

gastr del sol -- why sleep

[reckonslepoisson]

We Have Dozens of Titles, Gastr del Sol (2024)

Gastr del Sol, a band with a small but precious discography, thoroughly deserves this kind of attention, this kind of love. We Have Dozens of Titles is only really for the fans – but oh what a treat it is for them. The band’s technicality and prettiness is captured excellently by these archival selections, the finest of which prise solemn beauty out of emptiness, soar with vast swells of emotion and haunt in particularly wrenching ways.

Pick: ‘Onion Orange (Live)’

[rabbitechoes]

there were some really exciting new singles that came out this month, but also a few that left a bad taste in my mouth! 2024 is still shaping up to be an amazing year for music tho. some great projects coming over the next few months and i can't wait to dive into them. anyway, here are my thoughts on some of the notable singles & songs from this month!! to check out my thoughts on some of the albums, EPs, and mixtapes that came out this month click here!!! also feel free to follow me on rate your music and twitter <3

"Prologue" - Kamasi Washington

◇ featured on Fearless Movement - Kamasi Washington (not yet released) ◇ genres: spiritual jazz, jazz fusion

Saxophonist Kamasi Washington, undoubtedly one of the most prominent figures in modern jazz, has a new album coming out in a few months. This isn't technically the lead single as "The Garden Path" is on the record and that track was released years ago, but "Prologue" is the single released alongside the announcement of the new record. This is an immersive and frenetic jazz fusion cut that just goes crazy. Washington's saxophone is obviously a highlight, but THOSE DRUMS! Really great stuff all around. Super excited for the new album after hearing this, even more so after looking at some of the guests on the record. George Clinton, André 3000, and Thundercat? I'm all in.

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"Wild God" - Nick Cave & The Bad Seeds

◇ featured on Wild God - Nick Cave & The Bad Seeds (not yet released) ◇ genres: art rock, chamber pop

A few weeks after I finished The Bad Seeds discography, they went and released the lead single to their first album of the 2020s. Their last three records have been some of their strongest. From Push the Sky Away to Ghosteen, they've just been on a great run. From the sounds of "Wild God," Wild God could probably continue that hot streak. It leans into the chamber music-y aspects of their last few albums, but a lot more rock oriented rather than the heavy electronic elements of Ghosteen. It has Nick Cave's trademarks, but it's always a treat to hear them. I was sort of on the fence about this track until the "Bring your spirit down" part towards the middle. Kicked right into the next gear that I needed it to go. Can't wait for this one.

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"One Night Stand" - Adeem the Artist

◇ featured on Anniversary - Adeem the Artist (not yet released) ◇ genres: americana, progressive country

I've been on the Adeem the Artist train ever since I heard Cast-Iron Pansexual back in 2021. Ever since then, I've always kept them on my radar so I can hear whatever they do next. This new single, and the lead to their upcoming album Anniversary, is just great. I love how they never shy away from embracing the country music sound. This sounds like a country music radio hit from years gone by, but with a queer spin to it. Finally a bittersweet country anthem that I don't feel ashamed to sing along to! Really loving this track and I hope the album is just as good!

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"symptom of life" - WILLOW

◇ genres: indie rock, art rock

WILLOW has made so many really good songs. "symptom of life" is definitely one of them, but I've been burned so many times. She'll make a banger song and then the next thing she releases is a collab with like Yungblud or MGK. Then the full album those good singles lead up to is pretty disappointing. Maybe "symptom of life" will break that cycle! I'm all in on her art rock era and she really fits this sound well. The skittering piano throughout the verses juxtaposes her vocals in a really cool way. The chorus is good, but I wish it hit a bit harder than it does. All in all, this is really good and I hope her next project can tap into her full potential.

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"Alley Rose" - Conan Gray

◇ featured on Found Heaven - Conan Gray (not yet released) ◇ genres: post-britpop, piano rock

I haven't been crazy about Conan Gray's music over the years and while "Alley Rose" isn't terrible by any means, I just find it ... off-putting, for lack of a better word. Everything is just so overproduced and hardly any genuine emotion can emerge through that barrier. It also makes it difficult for me as a listener to connect with the song. Like I can hear Gray singing his damn heart out, but it just feels so plastic to me. It sort of sounds like an Elton John song, but not classic Elton, like ... recent Elton. That kind of grand music that just fails to portray anything earnest.

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"This Is Nowhere" - The Black Keys

◇ featured on Ohio Players - The Black Keys (not yet released) ◇ genres: pop rock

I was a pretty big fan of The Black Keys when I was in middle school and I have a lot of nostalgia for their early 2010s stuff, but they've been coasting for so long now. That sort of boring, too clean blues/garage rock that just gets so exhausting after a while. "This is Nowhere" has them shaking up the formula a bit, but it's very much an "in one ear and out the other" type song. It'll probably get some airplay on your local alternative station and then it'll be phased out in favor of their hits from a decade ago. I do like the subtle psychedelic flavor to this song though, I just wish it was more memorable on the whole.

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"Incognito" | "Saturnine" - Justice

◇ featured on Hyperdrama - Justice (not yet released) ◇ genres: french electro, synth funk

Justice have released two more singles in anticipation for their new record. They're both pretty good. "Incognito" is a pretty solid electro track and "Saturnine" adds some funk to the mix which shakes things up a bit in a cool way even if it can veer into computer commercial territory. For some reason though, I find myself not returning to these new singles of theirs all that often. Like they're good in the moment, but nothing really compels me to revisit them. These two singles are a bit weaker than the previous two overall as well. I'm still gonna give the record a shot though, I have a feeling it'll be a pretty fun listen. Hopefully these tracks stick with me more when that time comes.

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"sir princess bad bitch" - Yaya Bey

◇ featured on Ten Fold - Yaya Bey (not yet released) ◇ genres: dance-pop, alternative r&b

I don't really know much about Yaya Bey. I was just looking through some new releases and this single looked intriguing. "sir princess bad bitch" is a nice lowkey R&B cut delivered with a ton of confidence. She sounds so cool here. I do wish the song was a bit longer and shook things up a bit more, but I still had a good time with it. I'll keep her upcoming album on my radar for sure!

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"Looping" - RiTchie

🥇 BEST SONG OF THE MONTH

◇ featured on Triple Digits (112) - RiTchie (not yet released) ◇ genres: experimental hip hop, neo-soul,��nu jazz

RiTchie is three-for-three with these new singles. The former Injury Reserve MC is gearing up for his debut solo record and it's shaping up to be an exciting one. "Looping" is quite different from the previous two singles. The playfulness is traded out in favor of something more meditative both lyrically and production wise. This atmospheric jazzy beat pairs with his passionate delivery wonderfully. I'm even more excited for the new album now. Excited to hear just how dynamic he can get. Could be one of the best records of the year for sure.

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"Classical" | "Mary Boone" - Vampire Weekend

◇ featured on Only God Was Above Us - Vampire Weekend (not yet released) ◇ genres: indie rock, chamber pop, baroque pop

Vampire Weekend have released two new singles leading up to their new album coming next week and they have all been pretty great. "Classical" has this off-putting lushness to it. It sounds like a deconstructed version of something from their earlier albums. "Mary Boone" is a fuzzy, sparse ballad that eventually blooms into an almost baggy direction. Sort of reminded me a bit of something from George Clanton's last album, except a bit less immersive. I'm really loving these new singles and I'm super excited to hear the new record.

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"Cinderella" - Remi Wolf

◇ featured on Big Ideas - Remi Wolf (not yet released) ◇ genres: synth-funk, contemporary r&b

Remi Wolf has sort of passed me by over the last few years. I've been meaning to listen to her last record for a while now, but I just haven't gotten around to it. After hearing this new single, "Cinderella," I definitely need to go back and check it out before this new record drops. This is such a jam. If this is what she's been cooking up all this time, I've really missed out.

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"Like That" - Future, Metro Boomin & Kendrick Lamar

◇ featured on WE DON'T TRUST YOU - Future & Metro Boomin ◇ genres: indie rock, chamber pop

I decided not to write a full review of this new Future and Metro Boomin' record because I don't have too much to say about it. It's got some good stuff, but it's a little bloated. This song definitely stood out though. The beat is pretty basic, but effective. Future holds his own in his verses, but the real highlight is Kendrick Lamar's guest verse. He's just so good, everyone knows that by this point, but it's still so true.

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"The von dutch remix with addison rae and a.g. cook" - Charli XCX

◇ genres: electropop, bubblegum bass

A few weeks after Charli XCX released her middling house cut "Von dutch," the remix featuring Addison Rae and A.G. Cook is here. Call me crazy, but I think this might be the superior version. A.G. Cook's production here really kicks it into that wild next gear that I wished the original did. Charli's performance stands out a lot more here too, as does Rae's. This still isn't one of my favorite Charli tracks, but this is a definite improvement.

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"How We See the Light" - John Cale

◇ featured on POPtical Illusion - John Cale (not yet released) ◇ genre: art pop

I'm still kinda new to the world of John Cale's solo music. I only just listened to Paris 1919 and Fear for the first time, but I loved them both. He has a new record out this June and this lead single is pretty decent. Cale still has an ear for interesting melodies and sounds. The more I revisit this one the more I enjoy it. It's nice to hear an artist of like Cale still experimenting and playing around. Definitely gonna check out this record when it drops.

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"World on a String" - Jessica Pratt

◇ featured on Here in the Pitch - Jessica Pratt (not yet released) ◇ genres: singer-songwriter, folk pop

Another really good single from Jessica Pratt leading up to her next album. This one sounds a bit more like what you would expect from her, but the formula is far from broken. Few are making folk music as dreamy as Pratt. Many of Pratt's songs sound like what ripples in a small pond look like, "World on a String" is one of them. Looking forward to Here in the Pitch for sure. It could very well be one of her strongest albums to date!

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"The Seasons Reverse (Live)" - Gastr Del Sol

◇ featured on We Have Dozens of Titles - Gastr Del Sol (not yet released) ◇ genres: post-rock, ambient pop

Jim O'Rourke and David Grubbs long dormant post rock group Gastr Del Sol are returning with a new compilation of unearthed material soon. Admittedly, I haven't listened to much of their work, but I'm a huge fan of Jim's so I decided to check this out. This is a nice instrumental piece with an interesting arrangement. O'Rourke's guitar is accompanied by these sometimes harsh, sometimes gentle synths. Hard to recommend this for everyone, but if you're a fan, this is probably really cool.

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"I LUV IT" - Camila Cabello

◇ genres: jersey drill, baltimore club, electropop

This is a mess. It’s a mish-mash of sounds that Camila Cabello just doesn’t have the sauce to pull off well at all. Also the lyrics are trying way too hard to be tongue-in-cheek and it falls so flat. When that snippet of the track was getting some attention on Twitter, I assumed it had to be a bit. No, that annoying “i love it, i love it, i love it, i love it” is the chorus. Carti’s guest verse isn’t good either. Just an impressively bad song! Like all of the pieces of the puzzle are there, but they're jammed together in such a way that the entire thing is a jumbled-up mess.

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"Take Me to the River" - Lorde

◇ featured on Everyone’s Getting Involved: A Tribute to Talking Heads’ Stop Making Sense (not yet released) ◇ genres: new wave, pop rock

The singles leading up to the A24 Talking Heads tribute album have been underwhelming for the most part, but I was really looking forward to this one. Lorde’s take on the Talking Heads cover of the Al Green song “Take Me to the River” is alright. This kind of production is new territory for her, but she holds her own pretty well. There’s nothing remarkable about the track and it pales in comparison to both the original and the cover it’s covering, but not bad at all.

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"Next Semester" - twenty one pilots

◇ featured on Clancy - twenty one pilots (not yet released) ◇ genres: post-punk revival, indie rock, pop rock

I wasn't crazy about the last single twenty one pilots dropped, but this is definitely a step-up. Does that make this song amazing? Not really. I feel like I'm grading on a curve. This is one of the best twenty one pilots songs for sure! I don't know if it stands out beyond that distinction though. Some of the verses are a bit awkward and not in the good, nervous energy kind of way. However, the instrumentation has some good moments, namely Josh Dun's drumming. This song is alright. I see a lot of people hyping up this new record and I'm hoping I can hop on that bandwagon, but I'm just not fully clicking with these songs.

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"Flea" - St. Vincent

◇ featured on All Born Screaming - St. Vincent (not yet released) ◇ genres: alternative rock

Another really good single from St. Vincent! A lot less industrial than the last cut, but it's still dark and noisy. There's some really cool production moments here. I love the multi-layered vocals on the "Once I'm in, you can't get rid of me" part. The chorus is explosive too. The rhythm section, consisting of Dave Grohl on drums and Justin Meldal-Johnsen on bass, are also killing it. Giving this song this sort of prickly groove. Definitely looking forward to hearing whatever she has in store next, these singles rock.

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[ursaminorjim]

"The seasons reverse" (live) - Gastr del Sol, We Have Dozens of Titles

[allmusic]

AllMusic Staff Pick: Gastr del Sol Upgrade & Afterlife

Chicago duo Gastr del Sol's 1996 long-player found them deepening their avant garde take on pop by exploring minimalism and the deconstruction of Americana. Tony Conrad provides microtonal violin drones and the album closes with a drawn out take on a John Fahey tune, somehow fitting perfectly with the group's abstract songwriting style.

- Fred Thomas

[allonsss]

[buttererer]