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] gmail.com if you need it removed)
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)