new: smashing pumpkins & more

Hello! As some of you may have noticed, there was no New Arrivals roundup last week — largely because there were only a handful of records that came out on Tuesday, and short weeks have a habit of being relatively uneventful. But we’re making up for it today, with a batch of new albums to help round out your 2011, including a batch of Smashing Pumpkins reissues and the new single from Sharon Van Etten. So, without further ado:

Smashing Pumpkins, Siamese Dream and Gish Reissues: I was so into both of these records when they came out. Dream especially, was a strange, churning record that combined the sensibilities of shoegaze with ’70s metal grind and grime. Listen to Billy’s voice on tracks like “Quiet” — it’s more whisper than yelp, strange and somewhat mysterious. Both of these are bursting with volume and hooks, and both of these records are rounded out with B-Sides and alternate takes to make it worth your while. I can only imagine how many discs the Mellon Collie reissue is gonna be. HIGHLY RECOMMENDED

Pusha T, Fear of God II: Let Us Pray: Solo album from 1/2 of the Clipse on Kanye’s G.O.O.D. Music imprint. Kinda hectic production surrounds Pusha’s strangely noncommittal flow.

Thee Headcoats, Knights of the Baskervilles: Reissue of 1996 record from Billy Childish-fronted group. If you know the man and you know the band, you know what to expect — slabs of greasy garage and blown-out blues served up with a dour British accent.

Dead Rock West, Bright Morning Stars: Pretty excellent, stomping country-rock outing from LA duo; lots of twang and a little bit of rust.

Ga’an, Black Equus: I’m just fascinated by this band. Ominous synth music, creepy and imposing, with a few krauty flashes and a few patches of psych drone. This is serious, spellcasting stuff. The title is a reference to the black horse that symbolized famine in the book of Revelations. The music sounds similarly apocalyptic. RECOMMENDED

Mickey Moonlight and the Time Axis Manipulation Corporation: New on Ed Banger, this one sounds pretty impressively restless stylistically, incorporating the disco and dance music the label is known for along with some strange psych-folk stuff as well. Mickey gained some notoriety with impressive remixes over the last few months, but this is his first proper full-length. There are apparently guest musicians galore.

†Hymns†, Cardinal Sins/Contrary Virtues: Double-album (and a debut, no less) from a self-described “atheist rock band” from Britain takes on religion and the myths surrounding it. This is complicated, knotty stuff — the prog ambitions of, let’s say, Muse, but with a bit more math rock undergirding and nastier vocals. It takes a degree of chutzpah to start your career with a double album, but those who tend toward the proggier side of indie will find much here to love.

Various Artists, Best of Ponte Duro: The Fania All Stars Story: Typically outstanding compilation from the Fania label, this one profiling the astonishing Fania All-Star band whose lineup featured Johnny Pacheco, Ray Barretto, Willie Colón, Hector Lavoe and more. Just that list of names should answer any questions as to how incredible this is. HIGHLY RECOMMENDED

Loka, Passing Place: Super strange band on Ninja Tune encompasses an impressive range of sounds — you’ll hear ambient synths, hazy ’60s jazz, Krautrock, even a bit of Stereolab. Changes from track to track, so sure to satisfy many.

Deardarkhead, Oceanside 1991 – 1993: I have often said that the excellent Captured Tracks label can do no wrong, and this sort of underscores that point. Reissue of splinter-small ’90s shoegaze band from New Jersey (not a typo) blends milky guitars with half-asleep vocals for a batch of dreamy pop songs.

Killer Mike, Bang x3: Nine song mixtape from Mike that preceded his incredible Pl3dge album. This is just as crackling and vibrant as that was. RECOMMENDED

–> “Jonah”s Jazz Picks
[NOTE: "Jonah"s jazz picks are actually written by Dave Sumner -- "Jonah Powell" is an alias. From here on out, we're going to credit him by his proper name so he gets the byline he deserves!]

Well, as mentioned previously, the supply of new releases is dwindling as the year comes to a close. That said, I found myself utilizing the phrase “highly recommended” more than in any of my previous article contributions, so even in times of austerity we are provided with good news.

Let’s begin:

Nat Birchall, Sacred Dimension: Nat Birchall and bandmate Matthew Halsall have carved a nifty little corner of jazz out for themselves. They both have their individual sounds and their voices are as fresh as anything on the scene today. They also recall voices of the past, respectively John Coltrane and Miles Davis. On Sacred Dimension, tenor man Birchall keeps with the spiritual themes, straddling the line of avant-garde without ever crossing it, while developing into territory closer resembling that of Alice Coltrane’s Journey In Satchidananda. Birchall is a jazz vet who only recently began putting out albums under his own name. His play is confident and strong, as one might expect from a pro who has spent a career honing his talent. Highly recommended.

Søren Kjærgaard, Ben Street & Andrew Cyrille, Femklang: An oddly alluring avant-garde bit of serenity. Femklang is the trio’s third album together, and the familiarity shows in the final result. Soren’s classical background in piano is the guiding force throughout the recording, keeping a placid yet bright feel to the music, with drums giant Cyrille and bassist Street keeping the conversation chipper and engaging. This is avant-garde jazz that can be appreciated by both fans and non-fans alike. Accessible without sacrificing any of its heart. Recommended.

Mary Halvorson & Jessica Pavone, Departure of Reason: Okay, look, I’m not interested in getting into some territorial pissing contest of what is jazz and what isn’t. If someone out there wants to shout that this should be categorized under some other genre, fine, whatever. Departure of Reason isn’t likely to gain Mary any more votes for inclusion into the jazz club, even if I bring up Braxton’s name. That said, Halvorson has impressively developed her sound on guitar into something quite unique, which even her detractors readily admit, and the interplay and rapport she and the wildly talented Jessica Pavone (viola) possess between them is positively addictive. I admit I’m a sucker for small-ensembles consisting of nothing but strings, and when the musicians heartily embrace the improvised music aesthetic while still yielding a series of ridiculously pretty tunes, I put my money all-in. I don’t expect everyone will like this, but I do expect that many people who consider their favorite genre something other than jazz will excitedly scoop this album up. Highly recommended.

Will Martina>, The Dam Levels: Cellist Will Martina rounds out a trio with the excellent Jason Lindner (piano) and Jason Barshay (drums). Straight-ahead modern jazz, though Martina’s cello adds a texture to the compositions that resonates brilliantly, even when it keeps to the background. The trio gets a real lyrical sound, so both the head and the heart are kept nicely occupied throughout. If you’re looking for a nice spot to introduce yourself to jazz being made in the present tense, this album is one of those. The tune “C for G” is very cool; Martina’s intense cello solo absolutely fires it up. Highly recommended.

Paula Shocron, Gran Ensamble: Argentinean pianist Paula Shocron’s initial foray into her own big band ensemble is a successful one. Another classical trained musician who couldn’t resist the allure of jazz, Paula’s previous output under her own name was solo and trio pieces, and thankfully she brings some of those small-ensemble sensibilities into her big band compositions. There is an intimacy here that sometimes gets lost in the exuberance of a large ensemble performance, and the interplay between small voice and booming creates some fun tension as a listener. Recommended.

Rufus Reid, Hues of a Different Blue: A hard-swinging set from bass veteran Rufus Reid and his Out Front Trio (Steve Allee on piano and Duduka Da Fonseca on drums). With a series of guest appearances by jazzers from across the spectrum, Reid puts on a deft display of compositional talent. It’s an album of straight-ahead jazz, each song accented towards the talents of the particular musician guesting on that song, but never losing the cohesion of a Reid Out Front recording. On the Motema label, who can always be counted on for putting out solid tasteful jazz. Must Listen.

Dave Chisholm, Calligraphy: An interesting sophmore release from trumpeter Chisholm. His debut album Radioactive was a successful big band affair with sweeping melodies and unapologetic turns of drama and melancholy. For Calligraphy, Chisholm scales down to a quintet, and he zooms in on the heart of his melodies, leaving a result of an album that is more post-rock than jazz. Imagine Mogwai recording a jazz album, and you have a decent idea of what’s contained here. It’s really quite beautiful, and it’s a fascinating look at different facets of Chisholm’s source of creativity. A nice meeting point for jazzers and post-rockers to come together. Recommended.

Bill McHenry, Ghost of the Sun: There is something deceptively propulsive about this album. Listen to it, and it comes off as a laid-back affair filled with soft tunes and casual rhythms, but much how gentle waves on a calm sea can carry an inattentive boat far away from its resting place, so is the effect of McHenry’s compositions on the listener. Engaging without fussy complexities, moving despite a whiff of nonchalance, the album is an experience. Features Ben Monder, Reid Anderson, and the dearly departed Paul Motian. Outstanding.

Markus Pesonen Hendectet, Hum: This large ensemble throws the instruments at the listener all at once. Waves of sound come crashing in, one after the other, eleven pieces consisting of an army of woodwinds and brass, strings, accordion, and percussion. Hints of melody, however, tease with the promise of warmth. That promise is honored halfway through the album, gentle ballads, a rousing cover of Charles Mingus and a nifty rendition of the Beatles’ “Day in the Life.” Absolutely thrilled with this album. Highly Recommended.

Quinteto Ricardo Pinto, Sintra Project: Intriguing debut album by this Portuguese jazz quintet. Couldn’t find much online about this group, but I’ve been terrifically enamored with its steady drive and moody ambiance. A balancing act between a pleasant swing and determined rock-like rhythms, in addition to some nice harmonizing between horns and woodwinds, this recording would likely get slotted under nu-jazz, which means it’ll appeal to Indie fans and modern jazzers alike. Nice little recording.

Ely Guerra, Invisible Man: Recent Grammy nominee hits the emusic site with seductive little set of piano trio songs. Ely’s vocals are the kind I like… seemingly effortless, not pushy, and no emotional cheap shots. It’s a delicate affair from beginning to end, pretty straight-forward without any real surprises, but when it’s boiled down its barest elements, it’s a pretty album that’s a very nice listen, and I felt compelled to mention it. Nice.

Okay, this one probably shouldn’t even be filed under jazz, but it’s just too damn cool not to mention… Peter Bryngelsson, Wunderbaum: Founding member of old-school prog rock band Ragnarok, Bryngelsson puts together an album of field recordings, sax, banjo, electric, acoustic, and slide guitars, harmonica, strings, various percussion, and a Hohner Claviola. It’s almost too easy to use the word ‘cinematic’ to describe this album, but easy sounds good to me right now. Fans of Ennio Morricone, Devotchka, Marc Ribot, and John Fahey should spend some time investigating this album. Too cool.

Well, that’s it for this week. I hope you find a few things here to enjoy.

Cheers.

–> Singles & Eps
Sharon Van Etten, “Serpent”: First single from excellent upcoming Sharon Van Etten record. The album reminds me a lot of Kristen Hersh and Throwing Muses, which is a very good thing.

Guided By Voices, “Doughnut for a Snowman”: OF COURSE the new Guided By Voices song is called “Doughnut for a Snowman.” The lore behind this is that Pollard wrote the chorus years ago with the hopes of getting it in a Krispy Kreme commercial — which, needless to say, didn’t happen (They preferred “Gold Star for Robot Boy,” I guess). First batch of songs from record by recently-reunited Classic Lineup GBV reinforces the idea the Bob Pollard can just write stuff like this on spec these days. Of course it’s good. RECOMMENDED

Craig Finn, “Honolulu Blues”: I always thought it was weird when frontmen from bands released solo records, because I always assumed that they had the most control in their respective groups. That is just a crazy opinion. Single from Craig Finn’s forthcoming solo record is a lot more slow-burn than his stuff with the Hold Steady, a little more honky-tonk, too.

The Dodos, “Don’t Try and Hide It”: Neko Case-featuring single from the last Dodos record, backed with a heretofore unreleased B-Side.

The Proper Ornaments, The Proper Ornaments: Dour little London duo moves slowly, putting moody melodies over pinprick guitars.

Dempster Highway, We Sail: Difficult-to-Google band releases a slow-simmering EP of songs grounded in guitar and topped with gentle, rippling melodies.

Plastic Flowers, “Strange Neighbors”: More minimal synthiness from Wierd Records — monophonic synths and dour vocals make for great, icy listening.

–> Metal Box
Burzum, From the Depths of Darkness: Mostly just letting you know this is here, you can decide whether or not you want to spend money on it. Varg has been insanely productive — as opposed to merely insane — since he got out of prison. Being locked up for manslaughter for 16 years will do that to a person, I guess. What being locked up for 16 years doesn’t do, apparently, is disabuse you of your idiotic, backwards views on race. This is mostly re-recordings of songs from his first two records.