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    Episode 467: May 17, 2020

    Moonrise over Kyoto by Gabriel Keepin' it Loud with Brainwashed Radio: The Podcast Edition with Episode 467

    It's an all new show this week with music from The Residents, Laraaji, Flat Worms, Bodywash, Grischa Lichtenberger, Okkyung Lee, Claire Rousay, Patricia Wolf, Jan Jelinek, and Praxis.

    Continued love for all listeners, musicians, and record labels who write and contribute and make awesome music.

    Picture of a moonrise over Daimonji, Kyoto, Japan from Gabriel.

    NOW AVAILABLE through SPOTIFY and AMAZON (links below) in addition to the other platforms.

    Review, share, rate, tell your friends, send images!

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    Forced Exposure New Releases for the Week of 5/18/2020

    New music is due from Vladislav Delay, Tilman Robinson, and Coastlines, while old music is due from Luomo, Bill Orcutt & Michael Morley, and Gas.


    Laraaji, "Sun Piano"

    https://f4.bcbits.com/img/a0125218454_16.jpgEnigmatic Afro-Transcendentalist figure Laraaji has a long, fascinating history with music and is still very active at the age of 76. He is known for being "discovered" by Brian Eno, and working with such underground darlings as Sun Araw, Dallas Acid, and Blues Control. He studied piano position in college, and then found himself with Eastern mysticism and began improvising with zithers and mbira. This album finds him returning to his roots with an all instrumental piano meditation.


    Matt Weston, "Tell Us About Your Stupor"

    cover imageWith A New Form of Crime ing out last fall, and a new double LP on the horizon, Matt Weston has been prolific as of late.? One thing that sets Tell Us About Your Stupor apart from these other albums, however, is that it is a live recording, although that of an installation project rather than a traditional concert setting.? That is an important distinction to make because, having seen Weston perform on multiple occasions, the live experience is a significantly different animal, and that is clearly captured here.? As an installation, it would seem that this is more of a live performance augmented by other instruments or recordings rather than a purely live, solo recording, but it has an exceptional balance between live Weston and studio Weston.


    Flat Worms, "Antarctica"

    https://f4.bcbits.com/img/a2754474725_16.jpgLos Angeles' Flatworms kicked off their career creating psychedelic-tinged and feedback-driven guitar riffs embedded in a foundation of high-octane garage punk, with lyrical content to match. The latest direction finds the trio of vocalist and guitarist Will Ivy, drummer Justin Sullivan and bassist Tim Hellman (Ty?Segall, Oh Sees) painting on a less fuzzy canvas, with a more refined sound and finer songwriting precision, with both Steve Albini and Ty?Segall in the engineering booth.?Segall's '60s psychedelic influence can be felt here, as well as Albini's mitment to high fidelity, but some of the musical experimentation heard on their prior work has been traded in for a more well-oiled machine, albeit a well-oiled machine with punk sizzle.


    Plone, "Puzzlewood"

    https://f4.bcbits.com/img/a1061089243_16.jpgPlone's album Puzzlewood continues in their very specific oeuvre of midtempo music with a playful, childlike hue to it. It's all soft edges and singable tunes in a digital mishmash that includes electronics, synths, trumpet, piano, guitar, strings, and exotic percussion. This happy orchestration yields bite sized songs full of lift and happiness. The album is a eback after a twenty year absence, and although the genre they helped pioneer has fallen out of favor, their self-consciously retro sound makes their music a timeless affair.


    Jasmine Guffond, "Microphone Permission"

    https://f4.bcbits.com/img/a2170065173_16.jpgOn Microphone Permission, Jasmine Guffond has created some truly rapturous detours and alleyways in sound. The ever shifting musical landscape is like an aural house of mirrors, though there is nothing circus-like about this project. It contains inward, reflective positions—at times somber and at other times buzzing about—but always interesting and beautiful.


    Container, "Scramblers"

    cover imageRen Schofield might be living in a new country (England) and releasing music on a new label (Alter), but no one need worry about those differing circumstances having any impact at all on the single-minded and relentless brutality of his work as Container.? That said, Scramblers is (rightly) billed as a more "high-octane" incarnation of Schofield's punishing aesthetic, as it evolved directly out of his aggressive live performances.? To some degree, such a statement is largely academic, as just about every Container album has felt like the techno equivalent of a runaway train, but it is true that this particular album offers virtually no breaks at all in the intensity of Container's splattering and pummeling rhythmic assaults.? That is just fine by me, as Schofield's primal violence is consistently executed with surgical precision and visceral power, but more casual fans may find themselves wishing that Container would someday evolve further beyond the mercilessly one-dimensional onslaught of previous albums.


    Golden Retriever & Chuck Johnson, "Rain Shadow"

    cover imageI can think of few other projects that have elicited such a wide and continually shifting range of opinions from me as Portland's Golden Retriever, as Jonathan Sielaff and Matt Carlson sometimes seem like immensely talented and idiosyncratic visionaries and sometimes seem like dedicated revivalists of my least favorite strains of kosmische musik.? This new collaboration with Oakland-based pedal steel master Chuck Johnson, however, is unambiguously a marriage made in heaven, as Johnson's warm and soulful ambient shimmer provides the perfect context for Sielaff and Carlson to work their magic.? At its best, Rain Shadow feels a bit like a long-lost Brian Eno/Daniel Lanois collaboration, but one that has been updated with sharper edges and a more sophisticated approach to harmony (and, of course, a heavily processed clarinet).? This is very likely the strongest album that either Johnson or Golden Retriever have ever recorded.


    Bodywash, "forter"

    Bodywash - forterThe debut from Montreal’s Bodywash is an album that sounds lovely for casual listening, but after focused listening reveals deeper pockets of brilliance. In the past couple of decades the MP3 audio format, much in the same way as CDs and cassettes, has allowed for a viable "listen and run" approach. Digital music has offered tremendous convenience but has also encouraged less immersive music listening. With the emergence of many lockdowns and stay-at-home orders, now is the perfect time to settle in and get deeply immersed into a full-length piece of music. forter is a work full of familiar and, yes, forting sounds, and it is a great place to practice immersive listening.

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    Cam Deas, "Mechanosphere"

    cover imageI certainly grouse a lot about the seemingly endless tide of modular synth albums being released in experimental music circles these days, but there are a handful of artists who induce me to marvel at the truly incredible potential of such gear instead.? One such artist is erstwhile guitarist Cam Deas, who absolutely floored me with last year's brilliantly twisted and phantasmagoric Time Exercises.? Happily, this latest release returns to roughly that same squirming, tormented and mind-dissolving terrain, but the world of the more spacious and nuanced Mechanosphere evokes a somewhat different feel than its more explosive and abrasive predecessor.

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