Robin Sloan, “An Integration Loop”, or building on William Basinski’s Disintegration Loops with a sample-oriented generative neural network and a lot of judicious editing:
A technical argument for why vinyl sound quality is actually terrible:
An interesting essay examining Broadcast’s “The Noise Made By People” (now 20 years old) as a turning point in what “psychedelia” meant, from Britpop-adjacent 60s shagadelic kitsch to the present world of Ballardian/Scarfolkian hauntology:
Bandcamp has an interesting list of some of the more esoteric releases on Jello Biafra’s Alternative Tentacles label:
Though there’s one minor mistake: Wesley Willis didn’t use a Casiotone keyboard; he used a Solton Ketron.
Satan Not Hatin’: an new anti-bigotry campaign from the Global Order of Satan, one of the Nice Satanist groups to pop up recently:
Someone’s making a documentary on Melbourne musician/cartoonist/bohemian larrikin Fred Negro:
Currently listening to the PC Music compilations that have just been released on Bandcamp. It’s a lushly euphoric, mephedrone-soaked neon candy-hued club-pop, a sort of Shibuya-kei of the Rich Kids Of Instagram-era London. What cool teens from Notting Hill were dancing to at Hackney warehouse parties while I was going to psych-rock gigs at the Shacklewell.
A genealogy of Nancy Sinatra and Lee Hazelwood’s "Some Velvet Morning", and its curious afterlife:
Getting a bit of a Hummingbirds vibe from the debut single from Fortitude Valley, a new UK band headed by Laura K from Tigercats:
Excited to see that Newcastle-upon-Tyne krautrocky electropop combo Warm Digits have a new album coming out in a couple of months:
A short history of the punk rock scene in Wuhan, the capital of Chinese punk:
Listening to a Japanese shoegaze/dreampop band named Plant Cell; rather nice:
Saw a rather good Swedish krautrock/psych band named Kungens Män tonight. They’re apparently in the tradition of Swedish progg/psych bands like Träd, Gras Och Stenar, only with kraut/post-rock/free-jazz influences.
An Interview with Angelo Badalamenti, in Believer; in which it emerges that his work with Julee Cruise originated from David Lynch not having had the budget to license a Cocteau Twins song for Blue Velvet:
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