Thursday, April 10, 2014

April 16, 2013: Blenheim

Sideways Through Sound Spotlight Album: Ryley Walker - All Kinds Of You (Tompkins Square) & Interview

Ryley Walker is a 24 year-old singer/songwriter and guitarist from Chicago.

Having kicked around his home town's experimental free/noise music scene for several years, Ryley recently turned to a folk-rock sound inspired by some of his heroes, among them Tim Hardin, Tim Buckley, and Bert Jansch.

The result is a poised and accomplished debut album, recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave).

"With the charming swagger of jazz-folk troubadour Tim Buckley and the resonant, full picking style of Bert Jansch, 'The West Wind' comes from Walker's first widely available release, a three-song 12". With acoustic guitar in hand and a voice like browned butter, Walker swings and sways in a lush string-and-piano arrangement right out of Buckley's 'Starsailor'; it slowly picks up to a swirling gallop without bucking the rhythm." (NPR Music)

Sideways Through Sound Showcase: Twin Trilogy & Sean Smith Interview

Twin Trilogy is an instrumental prog space doom metal freak-out trio from San Francisco.

In fact, make that 'Power Trio"!! 

Featuring solo guitar ace Sean 'bonecrusher' Smith on guitar Twin Trilogy have just released their first 12" (there's 3 more to come) that is guaranteed to blow your mind !!

Sean is on the phone to Thee Sonic Assassin this week...

Wednesday, April 2, 2014

April 9, 2014: Sola Gratia

Sideways Through Sound Spotlight Album: Mariano Rodriguez - Praise The Road (Grasstops Recordings)

“With Praise The Road, I wanted to pay homage to the culture of travel. For me, the journey is more important than the destination.” — Mariano Rodriguez.

The Apostle Paul and Charles Darwin each found themselves with a different understanding of the world at the end of a significant journey than they had possessed when they started it; Che Guevara and Jack Kerouac learned trans-formative things about themselves and the world of men in road trips separated by a few years and a continent. Mariano Rodriguez has taken a few trips of his own, and he has a few things to say about them.

Rodriguez was born in 1971 in La Plata, Argentina. His father was an electrical engineer who custom-built home stereo systems and maintained the relays between European radio stations and their Argentine transmitters. Records, oscilloscopes, filters, and all manner of sound-generating gadgetry lay around the family’s home in suburban Buenos Aires.

Young Mariano picked up a clarinet in the elementary school orchestra, where he played classical music and vintage jazz, but by the time he got to high school he had graduated to electric guitar and garage bands. A youthful infatuation with the MC5, Velvet Underground, and the Stooges, as well as some encounters with the school’s Minimoog, dovetailed into a taste for ensembles that combined rock and experimental aesthetics, like Gastr del Sol and Cul De Sac. This in turn led him to the music of John Fahey and his own decision to take up the acoustic guitar.

Around the turn of the century, things went bad in Argentina. Economic collapse led to fighting in the streets, so Rodriguez took his family across the nation and settled in the countryside near San Carlos de Bariloche. Currently they live off of Ruta 40, the same north-south road that Guevara rode half a century ago, at the foot of the Andes in a cabin that he and his wife built. Between 2000 and the end of 2009, he did not perform in public, preferring to woodshed and put a few sounds up on Myspace.

When Rodriguez returned to the stage, he played in a style that, while certainly with precedent, has little to do with anything happening in Argentina. There’s a well-established tradition of instrumental guitar music throughout Latin America, but it is mainly performed on nylon-string instruments. His main instrument now is a steel-stringed acoustic guitar, played with a sturdy bass-line, bluesy tenor, and dramatic slide flourishes directly descended from Fahey’s music.

Fahey called his music American Primitive, aligning himself with a lineage of 19th century painters whose creative motivation was unfiltered by European-endorsed academic training. Rodriguez’s upbringing, however, brings to mind a statement made by the English saxophonist, Evan Parker; “My roots are in my record collection.” Since it’s the 21st century, you could add to that, “my hard drive and web browser.”

Rodriguez is a self-trained student of guitar styles from around the globe, as conversant with the work of Paraguayan classical guitarist Agustín Barrios Mangoré, Ugandan fingerpicker Faustino Okello, and his English contemporary Chris Joynes as he is with that of Fahey, Sterling Morrison, and the newer American Primitive players like Jack Rose, Daniel Bachman, and Hayden Pedigo.

Rodriguez is a 21st century artist who, after first taking in all the input that technology can bring his way, has sifted through diverse influence, inspirations, and methods, and figured out what he wants to say. Which brings us back to where we started. All that time he spent winding his way through different styles and sounds weren’t preparation for his art; they’re part of it, just like the insight and humility that come from traveling become a part of the traveler. (Bill Meyer, Berwyn IL, USA. January, 2014.)

Sideways Through Sound Presents: Luther Dickinson & Interview

A gifted guitarist with an eclectic range of influences, Luther Dickinson has earned a reputation as an innovator in modern blues while also having a keen understanding and respect for its rich history.

Dickinson comes from a notable musical family: his father, Jim Dickinson, was an influential studio musician and producer who played piano with Aretha Franklin, Bob Dylan,Los Lobos, Delaney & Bonnie, and the Rolling Stones, and produced sessions for Ry Cooder, Big Star, Toots Hibbert, and Mudhoney, among many, many others.

Luther was born on January 18, 1973, in Memphis, which was his father's base of operations for many years. He made his recording debut at the age of 14, adding some guitar howls to the sessions for the Replacements' Pleased to Meet Me, produced by his dad. Around the same time that Luther began recording, the Dickinsons moved to Mississippi, and Luther and his family became regulars at juke joints where Southern blues individualists such as R.L. Burnside and Junior Kimbrough still played on a regular basis.

Luther's brother Cody, who played drums, became his musical sidekick, and they teamed up with bassist Chris Chew in 1996 to form the North Mississippi All-Stars. In 2000, the group released their debut album, 'Shake Hands with Shorty', which earned them enthusiastic reviews and a Grammy nomination for Best Contemporary Blues Album. The North Mississippi All-Stars developed a following as a stellar live act, and as word of Luther's instrumental prowess spread, he began doing session work, recording with the likes of the Jon Spencer Blues Explosion, Willy DeVille, and Lucero.

2012 saw Luther releasing his first proper solo album with a set of acoustic instrumentals, ‘Hambone's Meditations’, a second album with the South Memphis String Band (Old Times There...), and Go On Now, You Can't Stay Here, the debut of his new band the Wandering (Valerie June, Amy LaVere,Sharde Thomas, and Shannon McNally) all on the same day. The album 3 Skulls and the Truth, in collaboration with David Hidalgo and Mato Nanji was released later the year, making a total of four.

Dickinson spent most of 2013 working with his brother in the North Mississippi All-Stars (their acclaimed World Boogie Is Coming appeared in the fall of that year) but also found time to contribute to recordings by McNally, Jim Lauderdale, and Devon Allman. His next solo recording, ‘Rock 'n Roll Blues’, was released in early 2014.

Wednesday, March 26, 2014

April 2, 2014: Song Of Impermanence

Sideways Through Sound Spotlight Album: Agusa -  Högtid (Transubstans)

Love psychedelic guitar textures and vintage styled prog-rock organ freakouts? Of course you do!!

Well, do yourself a favor and be sure to check out this debut release from Sweden's Agusa. This is authentic sounding early '70s prog/ psych/ krautock inspired stuff... so much so that you'd swear it was recorded in 1971.

The band lists their influences as Kebnekajse, Amon Düül II, and Colosseum but they have also added their own spin on the vintage sounding modern prog sound.

Featuring members of Sveriges Kommuner & Landsting, Kama Loka and Hoofoot, Agusa weave plenty of swirling organ, jagged guitar, and nimble rhythms throughout this stirring collection of songs. From the organ soaked journey of "Melodi Från St Knut" to the marvelous guitar/organ interplay of "Uti Vår Hage"... 

"Stigen Genom Skogen" is a midnight jam between Santana & Deep Purple and the Grateful Dead styled prog-psych adventure that is the outstanding "Östan Om Sol", this is just a wild ride from start to finish. (Sea Of Tranquility)

Joshua James: Live in Session on Sideways Through Sound

Already known for his 2007 debut 'The Sun Is Always Brighter' and 2009's follow-up 'Build Me This', Joshua James returns on 'From The Top Of Willamette Mountain' with 11 songs that hone his own singular voice and further establish him as a formidable artist.

'From The Top Of Willamette Mountain' was produced by Richard Swift (Damien Jurado, Gardens and Villa, The Mynabirds) at his National Freedom studio in, coincidentally, Oregon's own Willamette Valley.

Striving to push his own artistic boundaries and bring in a new perspective, Joshua sought out Swift's raw, unique style of record making. Swift worked to capture the immediacy of Joshua's live performances and frequently juxtaposes the songs darker moments with a light touch. 

Radio Playlist April 2, 2014 (LISTEN)

Michael Wohl – Song Of Impermanence [Moonfeeder 7”]
Abramis Brama – Lång Tripp [Enkel Biljett]
Agusa – Stigen Genom Skogen [Högtid]
Ken Reaume – I Had A Love [Four Horses]
Hiss Golden Messenger – Cheerwine Easter [Haw]
Kama Loka – När Lingonen Mognar [S/T]
Agusa – Östan Om Sol, Västan Om Måne [Högtid]
Allysen Callery – I Gave You (Bonnie 'Prince' Billy & Matt Sweeney) [Slowcoustic BPB Covers Project]
Jesse Aycock – Where’s The Light [Flowers & Wounds]
Burn Antares – Treat Me This Way [EP]
Joshua James – Queen Of The City [From The Top Of Willamette Mountain]
Joshua James – Doctor, Oh Doctor [Live on Sideways Through Sound]
Joshua James – Choices (George Jones) [Live on Sideways Through Sound]
Listen to Joshua James Live in Session HERE
Dusty Ravens – Hollywood Hotel [Stories Of Love & Death]
The River Has Many Voices – You Will Miss Me When I Burn (Will Oldham) [Slowcoustic BPB Covers Project]
Kristian Harting – Float [Float]
Agusa – Kärlek Från Agusa [Högtid]
Schnauser – As Long As He Lies Perfectly Still (Soft Machine) [Fruits de Mer 7”]
Elephant Stone – L.A. Woman [v/a A Psych Tribute To The Doors]

Wednesday, March 19, 2014

March 26, 2014: Close To The Sky

Sideways Through Sound Spotlight Album: New Bums - Voices In A Rented Room (Drag City) & Interview with Ben & Donovan

Introducing New Bums...Donovan Quinn (Skygreen Leopards) and Ben Chasny (Six Organs of Admittance, Comets on Fire, 200 Years, Rangda and who's hiring?) making sweet and sour music together.

In this true partnership the pair compose songs with all the stark confessions, tall tales, bleak humours and punch lines the people can bear. The voices are two, spinning harmonies, both heavenly. Behind the acoustics and voices is lots of space, but there are a few extra instruments that come and go as they move from stately processional to street corner sing-around to bluesy weeper to low-rolling rock ‘n roll and back again.

This is guitars music - slide-guitar lines erupt in the dark night air and classical-tinged filigrees curl around the tarnished and rusting edges throughout. Picking their direction and floating along on a pair of acoustics, New Bums are the sound of Old Drunk America, dancing out of the shadows, coming forth again to stand in the light, in the hopes of re-populating those sad old single-occupancy hotels before they're all torn down.

The Dead Heads: Live in Session on Sideways Through Sound

After countless restless nights and days the band of brothers The Dead Heads are coming down from the mountain.

Following weeks spent furiously recording and rehearsing with the hope that sanity prevails. They have taken the trip and reached impossible heights of splendour and delved deep into the darkest spaces our human condition.

Divining visions from the other side they have uncovered the necessary artistry to guide the future and beyond... So now as they gaze across Sydney’s stale horizons and through the endless haze of ennui, down nervous city streets, dreary dead end jobs and nights haunted by manic dreaming, the Devil may care but only because The Dead Heads live this life and they live it for real.

Radio Playlist March 26, 2014 (LISTEN)

Six Organs Of Admittance – Close To The Sky [Compathia]
The Skygreen Leopards – A Breeze Of Pine Blows Through Me [One Thousand Bird Ceremony]
New Bums – Black Bough [Voices In A Rented Room]
R.L. Crosby – Special Rider Blues [Single]
CWK Joynes & The Restless Dead – Night Over Djerba [GPS/BW 7”]
Zachary Cale – Love In Vain [Folkadelphia Session 04-10-2013]
New Bums – Burned [Voices In A Rented Room]
New Bums – Mother’s Favorite Hated Son [Voices In A Rented Room]
New Bums – It’s The Way [Voices In A Rented room]
Listen to the interview with Ben Chasney & Donovan Quinn HERE
Donovan Quinn – Shadow On The Stone [Honky Tonk Medusa]
Björn Kleinhenz – Daunty Dirges [Single]
Odawas – The Unnamed Sphinx [The Aether Eater]
Donovan Quinn & Michael James Tapscott – The People Of Idaho [Goodbye, Marlene]
Easy Targets – Hungry All The Time [v/a Psych Pop From Toronto]
Three Dimensional Tanx – Hermaphrodite’s Child [S/T]
The Dead Heads – Join Me [For The Sake Of Sanity & Good Vibes]
The Dead Heads – Seventh Seal [Live on Sideways Through Sound]
The Dead Heads – The Passenger [Live on Sideways Through Sound]
Listen to The Dead Heads Live in Session HERE
New Bums – Your Bullshit [Voices In A Rented Room]
The Citradels – This Man [Droned & Rethroned]
Six Organs Of Admittance – Close To The Sky [Ascent]

Wednesday, March 12, 2014

March 19, 2014: Kingdom

Sideways Through Sound Spotlight Album: Horseback - Piedmont Apocrypha (Three Lobed Recordings)

What Happened Was, Part One: Piedmont Apocrypha

You cynics with your fraught materialisms, your oddly shaped categorical divisions, your hid-away passions, you hush up a minute. I have a story to tell you. It’s a tale of back-porch imagineering, conjured not far from a growing computer cadre fiddling digits, though it has very little to do with that. And it has little to do with the three towers of thought which preside over this region, though nearly everything here has been touched by their tendrils in one way or another. Indeed, I have heard your objections before, and at one point I might have recited them from memory; but lately they’ve grown quaint -- remote, even, like deformed castings tossed away from a speeding train. So please don’t stop me, even if you think you’ve heard this one before.

What happened was a bolt from the æther split my head open. This is entirely true, from the right angle. It didn’t happen quickly: it came as a slow tug at the sides of my skull, which opened a bit and began oozing primordial stuff. Over the years, that oozing trickle grew into a stream, weird spirits toppling out into the world from another time. It was later that I understood it was just one bolt, a single flash smeared across a decade or more of our time. You could get a similar effect if you regularly took note of your wire-rod clothesline through the seasons of this coming year: its aspect might change, but it would remain the same damn metal rod. That’s what I mean when I say it was a single bolt frozen in time, only our wire-rod clothesline would be affixed to my head, and it consist of æther rather than metal, and it would channel cosmic horrors from another time and/or dimension. That’s what I mean.

The thing about spirits is they’re not what you think. At least, they weren’t what I thought. They have as much interest in manifestation as a forest stream has in paid time off from work. And I didn’t get that at first, see, because I thought I was hallucinating dead bodies in the road or baby skulls crunching beneath my feet as I walked into town, so I was rather distracted from what was really going on. Ultimately, it took years of this cosmic goop pouring out of an ever-widening cranial fissure before I got accustomed to it and was able to relax enough to make sense of it all. And then, did it ever make sense! Perhaps it did?! I believe it did, at the very least. If one rational thought were to have a shape, say like a Rubik’s Cube, then this would be a fantastic, gleaming-wet city of interlocking fractal formations, complete with underground passageways and far-off towers and whatever else you might find as the end result of perfectly alien city planning. If you are used to solving Rubik’s Cubes, then what I’m describing wouldn’t appear to be the same thing at first, not even of the same category of things. It would seem infinitely more complex. And on top of that, rational thought is not at all like a Rubik’s Cube, so you can imagine why it took a few years for me to begin piecing all of this together.

During all this, I was making music records. I suspected that this activity was directly related to the æther rod in my head, but I couldn’t confirm my suspicion at the time. Certain activities felt compulsory, and my impulse was to get them done and try to understand them later as I went along. This turned out to be a good plan because I saved a great deal of time and effort by ignoring what everything meant in the beginning.

The other thing about spirits is that they have a name if you give them a name, and they don’t if you don’t. They won’t complain either way, so you’re free to do as you’d like in that regard. But the trick for me, the catalyst for my own understanding, the thing that ultimately provided a map to that gleaming-wet alien city gathering itself into fractal patterns through the æther rod in my head, was understanding my spirits as symbols. Just giving them names! I am not taking much liberty in claiming that it was, at last, that simple; in fact, accepting nearly any strange thing is that simple. That’s why I like semiotics so much, and I guess it’s why I studied what I studied in one of the three prodigious towers of thought looming nearby.

All the weirdness I experienced over this decade-plus of our time started to make even more sense after I moved to the country just outside Chapel Hill, effectively positioning myself closer to the trees than to other people. This advancement is most likely owed to my back porch. While the back porch is not exclusive to the Southern Piedmont, the sight lines one can appreciate from a back porch here are the very best (and yes, I have compared them to the sight lines in other regions). I cannot overstate the importance of these specific sight lines to my own creative process. This is because I approach the activity of making music records as a practice (something the spirits suggested I do, and very good advice). By “practice” I don’t mean running scales or transcribing themes or squeezing a rubber ball hundreds of times in a row to improve dexterity: I mean the regular application of creative effort, focused enough to stay on task but loose enough to allow one’s muse to roam at will.

Once you begin a practice (and maybe you already have, so you know what I’m going to say), you quickly realize the importance of your setting, if only because you are there a lot of the time -- indeed, you’re there nearly all the time that’s not consumed in the essential tasks of eating or sleeping or earning money or socializing (though I’m still undecided about how essential the latter actually is). Here in the Southern Piedmont, your setting is likely to consist of rolling hills, flat expanses of farmland, and, most importantly, ancient forests of oak and pine trees which on a good day approach the density of the Amazon rainforests. Forests cast innumerable shadows, see, and each of these shadows is a portal, a potential source of inspiration, and a repository of variable arcana. As the seasons change -- and they do change here, quite dramatically -- the forest shadows shift, allowing otherwise unknown histories to emerge, cloaked in darkness.

I didn’t notice these subtle histories for the longest time. I didn’t even know to look! I figured that everything relevant to this region of the world had happened, at one point or another, in this region of the world; that is, I figured that relevant histories hadn’t happened elsewhere and very gradually, through some slowly accumulating bolt of æther or another, made their way to this very place in the woods. I was wrong, of course -- that’s what the spirits had been trying to show me. Their parade of forms, leaking like a faucet onto the roads upon which I had been driving, onto the sidewalks I had crossed on my way to town, might have been a clue. After all, one has to be rather thick-headed and silly to witness a procession of otherworldly spirits and assume, arrogantly, that theirs is the only time and place that’s relevant! And yet, I was exactly that thick-headed, at least until it was pierced by that rod, that golden horn, thereafter split open to the secrets of the world.

Jenks Miller, Chapel Hill, November 2013


Lisa O'Neill: Live in Session on Sideways Through Sound

Lisa O’Neill started writing songs and music at an early age in her native Ballyhaise, Co. Cavan, Ireland. She moved to Dublin, aged 18, to study music on a full time basis.

Early on she was welcomed into the folk and traditional scene in pubs and venues around the city where her singular voice, witty lyrics 
and observations on modern Irish life gained her popularity and set her apart as a unique talent.

Her second album 'Same Cloth Or Not' was recorded in a beautiful rented cottage in Wicklow in the winter months of 2013 and captures Lisa as an assured songwriter, as comfortable with lyrical pathos as she is comic turn of phrase. Her voice is a unique instrument in itself and at times she is downright poetic, switching mood from forlorn love songs to shady tales of wheelbarrow smuggling.

Radio Playlist March 19, 2014 (LISTEN)

Sam Moss – Kingdom [No Kingdom]
Johanna Warren – Woods [Fates]
Horseback – Passing Through [Piedmont Apocrypha]
Glen Hansard – Pennies In The Fountain [Drive All Night EP]
Jerry Hionis – Horsehead Fiddle [demo]
Marta Pacek – Not Leaving Here Alone [Voodoo Dolls & False Alarms]
Lisa O’Neill – Neillie’s Song [Same Cloth Or Not]
Lisa O’Neill – England Has My Man [Live on Sideways Through Sound]
Lisa O’Neill – Red Gansi [Live on Sideways Through Sound]
Listen to Lisa O'Neill Live in Session HERE
Jenks Miller – Have Mercy [Roads To Ruin]
Chris Forsyth – Downs & Ups [Folkadelphia Session 22-08-2013]
James Toth – Quicksand Rose [Roads To Ruin]
Horseback – Chanting Out The Low Shadow [Piedmont Apocrypha]
Listen to the interview with Jenks Miller (Horseback) HERE
Gretchen Lohse – Spider At The Gate [Primal Rumble]
Meg Baird – Stars Climb Up The Vine [Seasons On Earth]
Steve Gunn – New Decline [Time Off]
Horseback – Piedmont Apocrypha [Piedmont Apocrypha]

Wednesday, March 5, 2014

March 12, 2014: Up To My Neck In You

Sideways Through Sound Spotlight Album: The Dead Heads - For The Sake Of Sanity & Good Vibes (SR)

After countless restless nights and days the band of brothers The Dead Heads are coming down from the mountain.

Following weeks spent furiously recording and rehearsing with the hope that sanity prevails. They have taken the trip and reached impossible heights of splendour and delved deep into the darkest spaces our human condition.

Divining visions from the other side they have uncovered the necessary artistry to guide the future and beyond. So now as they gaze across Sydney’s stale horizons and through the endless haze of ennui, down nervous city streets, dreary dead end jobs and nights haunted by manic dreaming, the Devil may care but only because The Dead Heads live this life and they live it for real. 

Sideways Through Sound Showcase: Dean Wareham - S/T (Sonic Cathedral) & Interview

Born in Wellington, New Zealand, Dean Wareham spent his childhood in Sydney, Australia, before moving to New York City in 1977, at age 14.

His band Galaxie 500 emerged from Boston in 1988 and made three celebrated albums for Rough Trade. “Galaxie 500 were the ultimate cult group,” wrote Bookforum, “a band who set the stage for the indie scene of the 21st Century.”

His next band Luna recorded seven albums for Elektra and Beggar’s Banquet (including Penthouse, on Rolling Stone’s list of best albums of the 90s), followed by three albums as Dean & Britta (with Britta Phillips). In 2013 he released a 6-song EP, Emancipated Hearts.

Dean has just released his first ever solo album featuring 9 songs produced by Jim James (My Morning Jacket) and recorded at James’ house in Louisville, Kentucky. James also contributes keyboards, electric guitars and backing vocals and Dean will be chatting on Sideways Through Sound this week.

Radio Playlist March 12, 2014 (LISTEN)

Nibs Van Der Spuy & Guy Buttery – Up To My Neck In You [In The Shade Of The Wild Fig]
Sun Kil Moon – Richard Ramirez Died Today Of Natural Causes [Benji]
The Dead Heads – Trees Are Schizophrenic [For The Sake Of Sanity & Good Vibes]
Ride Into The Sun – Johnny Blossom [Single]
Jason Howell – Calendars [Everywhere Out Of Place]
The Limiñanas – Liverpool (feat. MU) [Costa Blanca]
The Dead Heads – Song 1 [For The Sake Of Sanity & Good Vibes]
Galaxie 500 – Submission [Peel Session]
Amaya Laucirica – On The Air [Single]
Dean Wareham – Heartless People [S/T]
Dean Wareham – Love Is Not A Roof Against The Rain [S/T]
Dean Wareham – Holding Pattern [S/T]
Listen to the interview with Dean Wareham HERE
The Dead Heads – Edge Of The Apocalypse [For The Sake Of Sanity & Good Vibes]
Schizo Fun Addict – Theme From ‘Suspiria’ [Fruits de Mer 7”]
The Metal Babies – Great [Single]
Dean & Britta – Knives From Bavaria (Spoonful Of Fun) [L’Avventura]
Real Estate – The Bend [Atlas]
The Dead Heads – The Seventh Seal [For The Sake Of Sanity & Good Vibes]
Schnauser – Astral Traveller [Fruits de Mer 7”]
Promised Land Sound – Wandering Habits [Big Light Studio 14-01-2014]
Luna – Friendly Advice [Bewitched]

Tuesday, February 25, 2014

March 5, 2014: Bury Me Beneath The Willow

Sideways Through Sound Spotlight: Kristian Harting - S/T (Exile On Mainstream) & Interview

Exile On Mainstream Records are responsible for putting out a wide variety of releases over the years, and more recently their catalogue couldn't be more eclectic. Inspired by sufi-music, mali-blues, western low-fi pop and avant-garde, Kristian Harting composes songs using his guitar, voice, circuit-bending and effects - pushing to create sounds that are gritty and noisy yet beautiful and pretty - culminating in diverse electronic and acoustic trips.

'Float' is Kristian Harting's profoundly personal debut which channels this approach into a genre-bending form, exorcising the demons he had to battle in his most recent past. In a very personal approach the title refers to what he describes as survival-strategy in a period of his life characterised by an extreme personal, emotional and financial turmoil, so chaotic and exhausting that it almost devastated him: “I had to be like water. Just float. Not think, not try to organise nor control the chaos, the perpetual beats to my chest and slaps in my face. I had to be like water or I would break. Just float around and away. Not crack like a rock or blow out like a fire. It was a spiritual journey. A test.”

The work on this album was a free harbor where he could unload the harvest from a furious sea by creating, playing and arranging each part on his own – writing, producing, recording, mixing – finding his own true place. By listening to the intimate recording you can feel the tensions inside it's creator, grabbing, shaping and channeling true emotions into music – an archaic approach but representing what Kristian believes music is made for.

Whilst these songs come from a chaotic, dark and desperate place, for Kristian, they remain full of hope and love…“My wish is that anyone listening to them will feel this too.”…he sums up the attitude behind the release.

Sideways Through Sound Showcase: Black Walls - Communion (Pleasence Records) & Interview

Successor to the "soft-psych masterpiece" Acedia, 'Communion' takes a meditative turn, offering minimal post-rock vistas that touch on drone and black metal. Gone is much of the delicate acoustic guitar work and confessional lyrics in favor of lengthy, mostly instrumental pieces that explore bleak, lonely landscapes.

A Statement To Exclaim! "Communion began in the aftermath of my father's passing and I had a hard time personally. I recorded it mostly at night in my bedroom. Musically these songs possess a glacial, mountainous, almost monolithic quality that reflected my mood and state of mind.

Recording these songs, I found myself exploring the metaphysical nature of life, my deeply religious upbringing, solitude, dependency and detachment from others, confusion/anxiety and subconsciously craving to disconnect and yearn for a more pastoral existence."

Radio Playlist March 5, 2014 

Kyle Fosburgh – Bury Me Beneath The Willow [Demo]
Neville Skelly – White Roses [Carousel]
Kristian Harting – Kamikaze [Float]
Ember Schrag – Houston [The Sewing Room]
Townes Van Zandt – Tecumseh Valley [Live at The Old Quarter, Houston, Texas: July 1973]
Robert Ellis – Houston [The Lights From The Chemical Plant]
Kristian Harting – Float [Float]
Kristian Harting – Walk With Thor [Float]
Kristian Harting – Soul Collector [Float]
Listen to the interview with Kristian Harting HERE
Morgan Delt – Beneath The Black & Purple [S/T]
Cambrian Explosion – The Sun [The Sun EP]
Temples – Sand Dance [Sun Structures]
Black Walls – Communion [Communion]
Black Walls – PTSD [Communion]
Listen to the interview with Ken Reaume HERE
Julie Byrne – Attached To Us Like Butchers Paper [Rooms With Walls & Windows]
Greg Ashley – Bruises [Another Generation Of Slaves]
Kristian Harting – First Applause [Float]
Crystal Jacqueline & The Honey Pot – Remember A Day [S/T]
Doug Tuttle – Turn This Love [ S/T]
The Dead Heads – To The Stars [For The Sake Of Sanity & Good Vibes]