Field Holler

February 6th, 2010 | aeropiratika


"Field Holler" is the opening piece off the above album, a collection of recordings of the Appalachian tradition ranging from 1944 to 2002. You can listen to more, and buy it, at this link here. There are several gems therein, but "Field Holler" is the one that haunts me. It has some spectral relationship with music I’ve heard from the Solomon Islands, with Bayaka music, with Clive Powell’s rendition of "Reed Sodger." There’s something ancient about it, something that speaks to blood.

(link degrades in seven days, review purposes only, shout if you need it removed)

And Ever

January 18th, 2010 | aeropiratika

I have, through foul means, come into possession of a copy of the new Titus Andronicus album, THE MONITOR. While very much a sequel to the previous record (THE AIRING OF GRIEVANCES), it has ambitions all its own. Someone’s been listening to very early Billy Bragg a lot, for instance: the song "Richard II" has the shreds of the Bragg song "Richard" embedded in it, and the final track opens with classic Bragg-style narrative songwriting and percussive guitar.

But the most pleasurable surprise on this entertaining record is the piece called "…And Ever," a reprise, late in the album, of a refrain from the second song on it, "Titus Andronicus Forever." Because, for absolutely no reason at all, they redo that refrain as a bit of crackling old-style rhythm and blues, complete with boogie-woogie piano.

And you know what? It just makes me smile.

THE MONITOR is released on 9 March 2010. And this is "…And Ever."

(mp3 degrades after 7 days, up for review purposes only, contact warrenellis [at] gmail dot com if you need it removed)

Scott Tuma

January 7th, 2010 | aeropiratika

I discovered Scott Tuma’s work a few years ago, with a record called THE RIVER. He’s usually filed under "Americana," but I find this reductive.

This is a piece from a collaboration with Mike Weis called TARADIDDLE, just because it’s what I’ve got to hand right now, but I find it preserves what’s important about Scott Tuma. His work is powerfully strange and estranging: it smacks of mutated ground, poisoned water, rust and death. The first track off 2008’s NOT FOR NOBODY is actually kind of harrowing, in the way that recent Elegi and Svarte Greine records have been — the sound of someone in extremis in an unforgiving environment. But I seem to have misplaced that. And TARADIDDLE is a fine record. So, from it, I play you "On Cox."

(mp3 provided for review purposes only, dies in seven days, contact me at warrenellis [at] if you need it removed)

Tickley Feather

September 5th, 2009 | aeropiratika, music

Some of Tickley Feather’s new album HORS D’OEUVRES has that oddly-produced "sonic glare" that I associate with (her labelmates) Animal Collective’s MERRIWEATHER POST PAVILION. Some of it is the tinkly stuff that tips over from "hypnogogic pop" to The New Twee. Some of it’s the sort of stuff you think of when you realise that Ariel Pink might actually just be the new Daniel Johnston with better medication. But this, the opening piece… not only does it weirdly remind me of Danielle Dax for some reason, but it’s the first best point on the record where her aesthetic really works and comes alive. It’s got all the fuzzy fragile lo-fi "hypnogogic" (is that term going to stick? Will I be able to drop the quotation marks soon?) signifiers… but it does something else, it pulses and lopes, sways and glows. It’s a fun record, with some high moments. But this is best. (It’s not on eMusic yet, for some vile reason, so don’t look there.)

(mp3 provided for review purposes only, degrades in seven days, contact me if you need it removed sooner and it shall be done)

Tony Moore’s Country-Fried Schizoid Mix

April 29th, 2009 | aeropiratika, people I know

Comics artist and cosmic cowboy Tony Moore — who introduced me to the term "Kentucky chrome" for duct tape — attempts to educate me about country music.