@@@ Sibylle Baier: I Lost Something in the Hills (Orange Twin, 2006) This looks to a reissue of a lo fi bedroom classic by a German woman from the ’70s. It’s a sad woman with an acoustic guitar walking through the hills. In the woods, moody and shit, I’m making a bit of fun but she’s got a very nice voice. Only the slopes gave her hope, that’s a good line, dramatical but effective nonetheless. I like it, I find the lyrics a bit, I don’t want to be too dead inside a bit over the top and I prefer Nick Cave’s exquisite guitar playing but this is fine lo fi mope for those who need it and the demand is probably very high these days.
@@@ Dan Wilson: Who Shot John (Mack Avenue, 2021 ) I got to this straight jazz guitar track via the Twatter. Love the Twatter. Instrumentation is guitar, bass, piano and drums — at least in the opening. Wilson’s tone is more pointed and less noodly than most jazz guitarists and I respect that. The drummer is swirling in some funk which I think would be great if there was more funk in the rest of the players. The drummer switches out to a more openly Latin flavor and I think that works better for the tune but that’s just me. Like the guitarist most here, then the drummer, agnostic on the bass player and don’t love the piano player. They’re heating shit up here and then it comes back down to a simmer. I like it all right. This is a pre-release track, there will be more shortly if it’s a pre-release because that’s what a pre-release is.
@@@ Galya Bisengalieva: Aralkum (One Little Independent, 2020) This is an ecological focused music piece I got to via the hoity toity Brooklyn club National Sawdust. Aralkum is the opening track of the record and this work is slotted as electronic on the ol’ Apple Music. I like it thus far as it goes up to the epic New Age line and doesn’t cross it. Bisengalieva is a violinist and there’s some of that standing sharply in contrast to the breathy synths and some undercover piston-y electronic beat action. Insect-y and churn-y rather than funky. That contrast between the violin and the synths is my favorite component of the tune and myself I could use some more rhythm and some bass. Overall mostly for the NPR crowd but as far as who it’s aimed at it does a good job feeding the NPR people. She’s blurbed as favoring apocalyptic moods and I get that but it’s a shiny and pretty sonically pleasant apocalypse I’m hearing here. I’m guessing the apocalypse will be a lot less beautiful when it really gets going.