Guttural screams, desperate moans and disaffected, dragged-out deliveries suffuse the Canadian quatuor’s second release. Reformulating some of their debut album’s mix of hardcore and folk (it’s aptly named Violence), Truck Violence delivers a more suffocating and altogether weary vision of the world. Not without reason: increasing climate catastrophes globally and rising fascism in the Western sphere have inspired the band, undoubtedly. The weathervane is my body, though, finds a glimpse of light amidst the hail.
Their first album under San Franciscan label The Flenser, Truck Violence keeps up with traditions of old-school hardcore, starting with DIY production and a straight edge attitude sprinkled with a healthy dose of irony.
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Swedish singer-songwriter 
The volumes of music referenced in the title of 
Hazy and out of focus, not as in a dream, but as in awakening from short, uneasy sleep. Uneasy because it never became a full separation from the world, instead letting all of its invisible threads pass through, the mind yet another cat’s cradle – a spider’s web, leaf veins spreading fractally, voices intersecting, branching thunder, constellations in the night sky changing over millions of years. Here in the Valley, with its blurred cover art, its Grouper-like soft and processed vocals, and its echoing folk instrumentation, nurtures that disorientation, experienced as a light porosity; its murmurs become you, its murmurs become the world.
Three years ago, saxophonist 
1925 was a landmark year for US recording studios, marking the introduction of electronic microphones to replace the huge gramophone horns previously used to harvest the sound of singers and musicians. This brought about a dramatic leap in sound quality and established 1925 as an effective year zero for modern compilations.
…The album was recorded in situ by Grammy Award winning producer Ian Brennan (Tinariwen, Ustad Saami, The Good Ones).
It is true that the number of artists covering that currently popular ground between Americana and pop/rock. Yet the key there is how distinctive their music is – whether they separate themselves from the rest and whether they come up with enough individual elements to separate themselves from the rest. A hard task that gets even harder if you go the independent (self-releasing) way.
Lynn Blakey was not a name that gained a great deal of traction commercially but she was an influential figure in the indie rock and alt-country scene in her home state of North Carolina where she DJ’d on college radio in the early ’80s; this was before forming Oh Ok in Athens Georgia with Michel Stipe’s sister Lynda (driven by the inspiration of seeing REM at a small local gig). She collaborated with others such as guitarist Mitch Easter in The Royal Opposition and guitarist Michael Chumbris in Glory Fountain, but her most well-known group experience was with Tres Chicas, a band formed in the late ’90s in Raleigh, NC, with Blakey, Caitlin Cary (from Whiskeytown) and Tonya Lamm (from Hazeldine). The group sang together for a few years before releasing Sweetwater in…
Incredible live concert from Rainbow’s debut world tour and documenting one of the band’s first ever shows in Europe, at 
Take a look at Thames & Hudson’s magnificently illustrated coffee table tome Off the Wall: Psychedelic Rock Posters from San Francisco, and among the phantasmagorical, hallucinogenic artwork promoting nights at venues such as the Fillmore, Winterland, Carousel and Avalon ballrooms, three names trailing clouds of lysergic glory occur more than any others – the Grateful Dead, Jefferson Airplane and 
With time and experience always comes a sense of knowing, and 
10 years ago, Madrid native 
Fans of experimental solo guitar records have been having a good year. The spring brought a new record by avant-jazz/power ambient guru David Torn and a career-spanning comp of madcap inventor Hans Reichel’s work. Now, Bill Orcutt’s Palilalia label gives us two LPs’ worth of gnarled fission and warped disputation from German provocateur 
Pascal Bideau’s second album as