One of my favorite sounds in the world is that of the vibraphone, a lesser-known jazz percussion instrument. When I hear it I see* small, luminescent, neon green (a color I’ve never seen in any other sound) orbs that tumble over each other like marbles and constantly swell and contract.
“Bag’s Groove,” composed by vibraphonist Milt Jackson and first recorded in 1952, is a 12-bar blues track with a catchy head comprised of descending notes. It features lively solos by Milt Jackson, alto-saxist Lou Donaldson, and pianist John Lewis. I personally go for the first and less famous recording because it’s concise, its pace is brisker, and (of course) because it has more vibraphone.
For the famous version, check out the Miles Davis Quintet’s recording. This track feels cleaner and more spacious in contrast to the rushed vibe of the original recording, probably because it’s eleven minutes longand has a more laid-back pace. And while Milt Jackson (who was part of the quintet) has a strong presence, it’s definitely more horn-heavy.
A recent favourite of the internet’s music critics, Sampha has previously featured on songs from Kanye’s The Life of Pablo, Drake’s Nothing Was The Same, and one of my favourite electronic albums, SBTRKT’s SBTRKT. The song below, off his new album Process, sounds reminiscent of James Blake in Sampha’s more soulful voice, and of Joni Mitchell in the melancholy evocativeness of the lyrics.
If this song is up your alley, I encourage you to check out the whole album –– while Sampha is very versatile, his stunning voice weaves a thread from beginning to end.
Surreal electrifying energy. “Not So Sweet Martha Lorraine” is a hypnotic track on Electric Music for the Mind and Body, an album full of psychedelic strangeness. I cannot get over the seamless switches from bluesy garage rock to soaring, euphoric organ that pervade the song. Take a listen.
I am definitely late in terms of boarding the Mitski train, which is surprising –– she’s toured with Frankie Cosmos, whom I’m a huge fan of, and is generally considered an integral part of the DIY indie scene (or whatever the “correct” name for this kind of music is). I’d tried listening to her in the past, and was, I guess, a little put off by what I thought was a much more aggressive, rocky sound than I was expecting. All I can say is that I must have listened to the wrong songs, or had gone temporarily deaf, because dang! This girl can sing! (and write).
Sometimes she seems to look into the soul of the classic American sadboy (or girl); other times, she writes from her own perspective –– that of a triculture disillusioned outsider. Either way, her music is almost always very emotionally evocative. The song below, for example, instantly transported me back into the days of all-encompassing, identity-dissolving and unhealthy first love. It’s off her third album that came out in 2014: “Bury Me at Makeout Creek.” Have a listen!
In October, the Rolling Stone featured Lewis Del Mar as one of ten new artists you need to know.
Lewis Del Mar’s whole album will awaken your music taste buds. Their songs have a circus of clashing sounds that cleverly resolve. Each song feels scrappy and exhilarating. Fans of Foals, Alt-J, and the beach goth genre will enjoy the beach dreamscape feel of Lewis Del Mar. I feel as if I am washing up onto a serendipitous island full of vegetation and allure every time I listen to them. “Tap Water Drinking” has an electronic background layered with a folk guitar and a hip-hop sounding beat. The end of the song is a wild and satisfying cacophony. As a listener, I also loved how the lyrics of “Tap Water Drinking” validated the universal feeling of shallow attraction.
My friend from KALX Berkeley impulsively took a bus to Colorado Springs, surprising me on this stressful start to the fourth week. We’ve spent most of the day sitting on my couch showing each other songs we’ve been into lately. Aside from the classic “Caught In A Butt Sandwich” by The Mangfather Bob Katz, the best song she showed me happened to be by a kickass multiracial artist named Kohinoorgasm. Kohinoorgasm is a bay area artist that used to DJ at KALX, now working as a solo artist. She strives to empower people of color through her music. The music video of “Azaadi Is Freedom Is Fate” has an evident motif of hair, which Kohinoorgasm notes as a “distinct issue for femmes of color.” The song itself is an exploration of the concept of freedom, Azaadi meaning freedom in multiple levels. As a multiracial woman who identifies strongly with my Indian culture, I find Kohinoorgasm to be an empowering presence in the DIY music scene.
Over Thanksgiving break, I was at home (in England) visiting a friend at her university in Sheffield. The classic way to spend your Saturday night in England if you’re college-aged, is to go to a club; and so we did. I was ready to be disappointed –– personally, I don’t really find much enjoyment in being in the middle of a crowded dark sweaty room of wasted strangers and subpar house music –– but then this song came on. Immediately, there was a sense of unity in the room; everyone stopped trying to impress the other drunk messes on either sides of themselves and started dancing, in whatever way they could. The club turned into a poorly-lit karaoke. I believe, with 97% certainty, that this song will make you want to sing with it.
I’ve been thinking a lot about the Oakland fire this week and listening to this band constantly. One of the members of the Them Are Us Too duo, Cash Askew, died in this fire. Askew was a vibrant member of the queer & trans community as well as the music scene in California. My song of the day is dedicated to Cash and all of the other vibrant humans whose life of creation was ended too soon. “False Moon” is a song off of Them Are Us Too’s first album Remain.
Some songs come to you via Spotify recommendations, and some come to you by fate alone. A few weeks back, I was browsing the wine selection at a store up in Denver when I heard Jim James’ new album playing over the speakers. As I stood there pretending to make an educated decision about whether the 2014 or 2012 cab sav would be a better choice, I listened to the smooth psych-fold in awe.
Never before have I been compelled to actually ask a cashier what music they were playing until that moment. Turns out, Jim James, frontman for My Morning Jacket, had released his fourth solo album just hours earlier. Fast forward to now and it’s already become a staple of my recent listening habits.
MF DOOM is consistently one of the most overlooked and underrated rappers in the world of hip-hop. Czarface also joins MF DOOM in the leagues of underappreciated rap talent. The duo link up on Ka-Bang for an energetic and dynamic song. MF DOOM is a highlight of the song with his distinctive baritone and unique flow. Unlike some of the younger hip-hop talent out at the moment, MF DOOM has an endless catalogue and countless albums and EPs for enthusiasts to explore.