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Category: Music (Page 2 of 12)

Viking Love - Swedish Indie Rock Revolution

Viking Love – Swedish Indie Rock Revolution

Viking Love – Swedish Indie Rock Revolution by Beard Radio on Mixcloud

A continuation of Sin Fang & All Things Icelandic

The Norse Creation Myth continued:

Odin, Vili, and Vé killed the giant Ymir. When Ymir fell, there issued from his wounds such a flood of blood, that all the frost ogres were drowned, except for the giant Bergelmir who escaped with his wife by climbing onto a lur [a hollowed-out tree trunk that could serve either as a boat or a coffin]. From them spring the families of frost ogres.

The sons of Bor then carried Ymir to the middle of Ginnungagap and made the world from him. From his blood they made the sea and the lakes; from his flesh the earth; from his hair the trees; and from his bones the mountains. They made rocks and pebbles from his teeth and jaws and those bones that were broken. Maggots appeared in Ymir’s flesh and came to life. By the decree of the gods they acquired human understanding and the appearance of men, although they lived in the earth and in rocks. From Ymir’s skull the sons of Bor made the sky and set it over the earth with its four sides. Under each corner they put a dwarf, whose names are East, West, North, and South. The sons of Bor flung Ymir’s brains into the air, and they became the clouds. Then they took the sparks and burning embers that were flying about after they had been blown out of Muspell, and placed them in the midst of Ginnungagap to give light to heaven above and earth beneath. To the stars they gave appointed places and paths.

The earth was surrounded by a deep sea. The sons of Bor gave lands near the sea to the families of giants for their settlements.

To protect themselves from the hostile giants, the sons of Bor built for themselves an inland stronghold, using Ymir’s eyebrows. This stronghold they named Midgard. While walking along the sea shore the sons of Bor found two trees, and from them they created a man and a woman. Odin gave the man and the woman spirit and life. Vili gave them understanding and the power of movement. Vé gave them clothing and names. The man was named Ask [Ash] and the woman Embla [Elm?]. From Ask and Embla have sprung the races of men who lived in Midgard.

In the middle of the world the sons of Bor built for themselves a stronghold named Asgard, called Troy by later generations. The gods and their kindred lived in Asgard, and many memorable events have happened there. In Asgard was a great hall named Hlidskjálf. Odin sat there on a high seat. From there he could look out over the whole world and see what everyone was doing. He understood everything that he saw. Odin married Frigg, the daughter of Fjörgvin. From this family has come all the kindred that inhabited ancient Asgard and those kingdoms that belonged to it. Members of this family are called the Æsir, and they are all divinities. This must be the reason why Odin is called All-Father. He is the father of all the gods and men and of everything that he and his power created.

The earth was Odin’s daughter and his wife as well. By her he had his first son, Thor. Might and strength were Thor’s characteristics. By these he dominates every living creature. As all informed people know, the gods built a bridge from earth to heaven called Bifröst. Some call it the rainbow. It has three colors and is very strong, made with more skill and cunning than other structures. But strong as it is, it will break when the sons of Muspell ride out over it. The gods are not to blame that this structure will then break. Bifröst is a good bridge, but there is nothing in this world that can be relied on when the sons of Muspell are on the warpath. The chief sanctuary of the gods is by the ash tree Yggdrasil. There they hold their daily court. Yggdrasil is the best and greatest of all trees. Its branches spread out over the whole world and reach up over heaven.

Viking Love – Swedish Indie Rock Revolution

Featuring music from:
Miike Snow
José González
The Sounds
Lykke Li
Peter Bjorn and John
Träd Gräs Och Stenar
Esbjorn Svensson Trio

Sin Fang & All Things Icelandic

Sin Fang & All Things Icelandic

BeardRadio gives Viking Love a try in this Almost All About Iceland Show by Beard Radio on Mixcloud

Sin Fang & All Things Icelandic

Sin Fang & All Things Icelandic

The Norse Creation Myth

The first world to exist was Muspell, a place of light and heat whose flames are so hot that those who are not native to that land cannot endure it. Surt sits at Muspell’s border, guarding the land with a flaming sword. At the end of the world he will vanquish all the gods and burn the whole world with fire.

Beyond Muspell lay the great and yawning void named Ginnungagap, and beyond Ginnungagap lay the dark, cold realm of Niflheim. Ice, frost, wind, rain and heavy cold emanated from Niflheim, meeting in Ginnungagap the soft air, heat, light, and soft air from Muspell. Where heat and cold met appeared thawing drops, and this running fluid grew into a giant frost ogre named Ymir.

Ymir slept, falling into a sweat. Under his left arm there grew a man and a woman. And one of his legs begot a son with the other. This was the beginning of the frost ogres. Thawing frost then became a cow called Audhumla. Four rivers of milk ran from her teats, and she fed Ymir. The cow licked salty ice blocks. After one day of licking, she freed a man’s hair from the ice. After two days, his head appeared. On the third day the whole man was there. His name was Buri, and he was tall, strong, and handsome. Buri begot a son named Bor, and Bor married Bestla, the daughter of a giant.

Bor and Bestla had three sons: Odin was the first, Vili the second, and the third. It is believed that Odin, in association with his brothers, is the ruler of heaven and earth. He is the greatest and most famous of all men.

Icelandic Music of Note

  • Sigur Ros
  • Grísalappalísa
  • Snorri Helgason
  • Samúel Jón Samúelsson Big Band
  • Tilbury
  • Vök
  • Ólafur Arnalds
  • ADHD
  • Johann Johannson
  • Samaris – Silkidrangar

Continue Reading about our Viking Love – Swedish Indie Rock Revolution.

Tame Impala - Awash in Currents

Tame Impala – Awash in Currents

BeardRadio – The Currents of Love by Beard Radio on Mixcloud

Listening to Currents feels like listening to a band undergo a metamorphosis. You thought what they once were was pretty cool and what they will be could be amazing, but what they are right now, well, it’s a bit ugly, kind of messy and takes a while to get to the good bits. Which is not to say that the follow up to 2012’s well-received Lonerism isn’t good in its own right. Tame Impala is a good band. It’s probably going to need some listens and some years to be either appreciated and reissued, or forgotten and moved on from. Though in their short existence they have cemented themselves as a guitar band, and the album cover is reminiscent of say a Steely Dan or an nonexistent Dire Straits / Talking Heads 7 inch, there is less guitar here than a fan of psycho-delico live portrayals of Lonerism might expect.

Tame Impala – Awash in Currents

Tame Impala - Awash in CurrentsWritten, performed, recorded, produced and mixed by Kevin Parker, Currents is the soundtrack to Parker’s life. The album is him forsaking the “followup album” and instead playing with an idea. That idea spans the musical genre-scape of easy listening, funk, futury synth-pop, reverb-laden 80s electro, and even touches on hip hop, as if 2001 took place in the Playboy Mansion.

The intro track “Let It Happen” drops into a phase-out drum thump a third of the way through letting us know that this album is stylistically, as well as conceptually about transitions. Life, love, music, and the mind, Parker’s is evolving into a brand new person that also happens to be a one-man recording machine. More Moby and less Pink Floyd. Soon he won’t even be seen with an instrument, just a floating head. Despite the erratic nature of the collection of songs, there is still the soaring sonic cascading over the everpresent dropkick beat. Add in loops, handclaps, psycho-fuzz and crank up the reverb and you’ve got Currents.

“The Moment” feels at times like a sun-drenched day at a beach party and alternately a bit too much like too much ecstasy at a Full-Moon Party. But at least it’s still a party. “Yes, I’m Changing” lacks a lilting melody to lift it out of a down-tempo abyss (obviously because Parker says he can’t remember making it…) while “The Less I Know The Better” seems like a Caucasian cry for help in the Disco-funk era. “‘Cause I’m A Man” is a Prince/Beck lovechild ode to naked slow dancing that is actually lyrically audible. I can hear and understand him. While not a classic album, there are moments of beauty, great beats and melodies and a mostly upbeat feel that I can dance to– a great step forward for the Tame Impala / Kevin Parker sound.

Kyoto Jazz Massive Turns 20

Kyoto Jazz Massive Turns 20

Anyone can make the simple complicated. Creativity is making the complicated simple.

–Charles Mingus

Kyoto Jazz Massive on a Blue Note Mission by Beard Radio on Mixcloud

Inventions & Dimensions - Herbie Hancock

Inventions & Dimensions (1964) is the third album by Herbie Hancock, featuring Herbie Hancock – piano, Paul Chambers – bass, Willie Bobo – drums, timbales, and Osvaldo “Chihuahua” Martinez – percussion (not on track 5).

In order to define the new album Mission by Kyoto Jazz Sextet (Blue Note Japan, 2015), and the renaissance of Crossover Jazz in Japan one needs to step back into the past. Specifically into the back catalogues of Blue Note Records. Started by Francis Wolff and Alfred Lion in the 30s, the jazz label became known for producing some of the most infamous hard-bop albums of the 60s. Wolff was known for taking photos of artists during studio sessions, sometimes obtrusively, and getting great work in the process. His iconic photos fill the album covers of the Blue Note Discography. Which begs the question, what are the roots of Shuya Okino’s Crossover Jazz empire? Where did it come from? How is it coming to define 21st-century Tokyo and the world beyond?

Jazz transformed from Ragtime to Swing to Bebop before it entered the pivotal era of the 50s and 60s. Miles Davis Birth of the Cool Modal revolution and its West Coast and Bossa Nova tendencies spread from the east coast of the US, across the country and throughout the world. Along with Cecil Taylor, John Coltrane, Charles Mingus and Pharaoh Sanders, Ornette Coleman pioneered the improvisational brand of Free Jazz that led to Soul, Fusion and Funk. The instrumental basis of swing had already been wildly popularized abroad, and its ability to cross into lands across the globe without passport made it one of the quickest music genres to evolve into a music any country could call their own. While jazz may have been an exclusively American invention, by the late 60s it truly had become the world music.

Jazz has been big in Japan for a century. Fumio Nanri, Ryoichi Hattori, Toshiko Akiyoshi, Yosuke Yamshita, Tadao Watanabe, to name a few, were all stellar musicians in their own right who sought to overcome criticisms of being derivative. Anyone can play a horn, pluck a bass, strum a guitar or pound a snaredrum, and a vast majority of Japanese jazz musicians were able to do so, finding themselves to be almost freakishly good at technical playing, but were missing the intangible touch of flair that was new and exciting, the j’ai ne sais quoi still good enough to remind fans of the masters from before. Music thirsts for artistry beyond mere musical ability. Jazz needs soul.

Kyoto Jazz Massive - Spirit of the Sun

Spirit of the Sun (2004) by Kyoto Jazz Massive features Shuya Okino, Yoshihiro Okino, Yasushi Kurobane, and Hajime Yoshizawa

Enter Shuya and Yoshi Okino. Looking backward has never been the Okino brothers forte. They are too forward facing to do so. Yet unable to escape the grand sounds coming out of the past, they have opted for their own special brand of break beat jazz. DJing, composing, arranging, supervising and producing music, they are not a group in the traditional sense. They don’t put out albums the way the music industry wants artists to do. They work at their own pace with numerous talented people across the vast panopoly of the musicsphere, like pianist and producer Hajime Yoshizawa and composer and saxophonist Naruyoshi Kikuchi. Seriously, these guys love to play live. They DJ. They run a record label / music shop. They come to get down. Releasing studio albums can wait.

They formed Kyoto Jazz Massive as a DJ unit in the early 90s, releasing the compilation Kyoto Jazz Massive V.A.. But between running a Tokyo nightclub (Shuya Okino is the owner of The Room, the influential Club Jazz/Crossover music club in Shibuya), and a record label Especial Records (Yoshi Okino operates Especial in Osaka, putting out albums by Root Soul, Sleep Walker, and Hajime Yoshizawa, Dj Kawasaki), the brothers came to the attention of a worldwide audience in a prime moment just before the release of Kyoto Jazz Massive’s first single, “Eclipse” and the release of the subsequent album Spirit of the Sun (Compost Records, 2002), when they were popularized (and named) by the BBC Radio 1 DJ Gilles Peterson in 2001. They began to tour, bringing the best Crossover Jazz to the Americas, Europe and Asia in a soulful effort to bridge musical as well as cultural divides. You can get a sense of how audiences might feel while seeing a slickly dressed DJ revving up the turntables opposite trumpeters and trombonists tuning up. It’s a bit befuddling. But once the warbles turn to warm notes and the band begins to lock in step it is easy to see how the scene has grown to encapsulate an eclectic ensemble of the best live jazz musicians in conjunction with mad beat architecture: two of the things Shuya Okino holds dear.

In our interview with Shuya he recalls a live show he played in France more than a decade ago:

We played Hiphop, Jazz, House, Techno, Brazil, Latin, Africa, Disco, Boogie, Drum n’ Bass, Break beats, Soul, Funk, Arabian & so on. But in France I’d heard that Club Jazz is a difficult thing. I guess what left an impression on me was when I visited in 2000 thinking that nobody would come. What I can’t forget to this day is the rush of the packed venue and the open-minded audience.

Kyoto Jazz Massive Turns 20

Much like the ethos of Free Jazz, Shuya’s Crossover Jazz places the emphasis on improvisation via new technology. Yet that the technology does not define the music is what is so masterful. The latest package, called Kyoto Jazz Sextet, was created to commemorate the 20th anniversary of the formation of Kyoto Jazz Massive. Mission features seven songs selected from 1963 to 1966 to reflect the distinct Blue Note sound of the period. Herbie Hancock, Waybe Shorter, Lee Morgan, Freddie Hubbard, Joe Henderson and Hank Mobley were all prominent musicians for Blue Note and the nature of these times and songs not only allows for improvisation, it begs for it. Yusuke Hirado (Piano – Quasimode), Ruike Shinpei (Trumpet – DCPRG), Takeshi Kurihara (Tenor Sax – Mountain Mocha Kilimanjaro), Koizumi “P” Yoshihito (Bass – Matsuura Toshio presents HEX) and Masanori Amakura (Drums) (joined by Kikuchi Naruyoshi on “Speak No Evil” and “Eclipse”) play vintage musical instruments throughout the recording. Eventually mastering and editing the results using analog methods, the band takes the homage to trad jazz to the next level, crossing-over with samples, loops, mash-ups and improvisation, all by the musicians themselves without post-production digital input. Complicated yet sounding so simple, it’s gorgeous. Closing out this tribute to mid-60s Blue Note era is the Kyoto Jazz Massive track ‘Eclipse’, featuring acclaimed saxophonist Kikuchi Naruyoshi (also plays on “Speak No Evil”). Apart from his usual arranging and production duties, Shuya actually plays as a member of the live band, which is at the heart of Crossover. During live shows at The Room in Shibuya members of the sextet frequently change, often giving more intimate versions of big band live shows.

Track List

Kyoto Jazz Massive Turns 20

Kyoto Jazz Sextet – Mission

1. Search for the New Land (Lee Morgan)
2. Speak No Evil (Wayne Shorter)
3. The Melting Pot (Freddie Hubbard)
4. Succotash (Herbie Hancock)
5. Mr. Jin (Wayne Shorter)
6 Jinrikisha (Joe Henderson)
7. Up a Step (Hank Mobley)
8. Eclipse (Kyoto Jazz Massive)

Produced by Shuya Okino
Co-produced by Kenichi Ikeda (Root Soul)
Supervised by Yoshihiro Okino

All songs arranged by Shuya Okino & Kenichi Ikeda, except
2 by Shuya Okino, Kenichi Ikeda & Takeshi Kurihara
4 by Shuya Okino, Kenichi Ikeda & Yusuke Hirado

Shuya adds, “As for the next album, because it depends on my brother as well, I can’t really say, but isn’t it amusing we only put one out every 10 years?”

If you’re not in Japan, and nowhere near KJM’s next tour, you should get the album (from Especial Records) now.

Kamasi Washington – The Epic

“It’s hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”

–Flying Lotus

The Beard – EP 123 – Kamasi Washington by Beard Radio on Mixcloud

Kamasi Washington – The Epic

Kamasi Washington - The Epic

Kamasi Washington – The Epic

The Epic, the solo release from young Los Angeles jazz composer and bandleader Kamasi Washington, just out on Brainfeeder, the underground label from producer/musician Flying Lotus, completely demolishes the bar for contemporary jazz standards. Primarily in its approach:

The Epic is a 172-minute, three-volume set that features a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. The base ten-piece band, some of the best young musicians around all out of Los Angeles – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist Miles Mosley, drummer Tony Austin, keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter with Patrice Quinn on vocals – are often referred to as “The West Coast Get Down”.

Secondly, the band has been jamming together for years. Washington, 32, has known Bruner since he was two. The rest met in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands.

This is what happens when talented youth is exposed to music from birth – a tenor saxophone jazz prodigy is born. As the apocryphal story goes, At the age of 13 Kamasi Washington picked up his father’s soprano saxophone, and even though he didn’t know anything about it, he played Wayne Shorter’s “Sleeping Dancer Sleep On”. Already well versed in the drums, piano, and clarinet it was at that moment that the saxophone became his instrument of choice.

Instead of playing music part time and going through the rote motions of dreary high school, Kamasi played and studied at the prestigious Hamilton High School Music Academy, forming his first band with childhood friends Ronald and Stephen Bruner on drums and bass, along with pianist Cameron Graves, called “The Young Jazz Giants”. His education continued as Kamasi went on to study Ethnomusicology at UCLA, recording his first album with The Young Jazz Giants, and eventually toured with Snoop Dog. He joined The Gerald Wilson orchestra, went on his first international tour with RnB legend Raphael Saadiq, played with legendary jazz artist such as McCoy Tyner, Freddie Hubbard, Kenny Burrell, and George Duke. At the same time he was working with Lauryn Hill, Jeffrey Osborne, Mos Def, and Quincy Jones. While still taking courses at UCLA. His vision of work experience is as avant garde and forward-thinking as his “Next Step” music is a modern spin on a big band, with two drummers, two bassist upright and electric, piano and keyboards, three horns and a vocalist. Recently Kamasi has been touring with legendary musicians Stanley Clarke, Harvey Mason, and Chaka Khan. He’s featured on Harvey Mason’s latest album “Chameleon”, Stanley Clarke’s latest and the last two Flying Lotus albums. The man is prolific.

Kamasi Washington - The Epic

Kamasi Washington – The Epic

The Epic Vol.1: The Plan
1. Change of the Guard 12:16
2. Askim 12:35
3. Isabelle 12:13
4. Final Thought 6:32
5. The Next Step 14:49
6. The Rhythm Changes 7:44

The Epic Vol.2: The Glorious Tale
1. Miss Understanding 8:46
2. Leroy and Lanisha 9:24
3. Re Run 8:20
4. Seven Prayers 7:36
5. Henrietta Our Hero 7:14
6. The Magnificent 7 12:46

The Epic Vol.3: The Historic Repetition
1. Re Run Home 14:06
2. Cherokee 8:14
3. Clair de Lune 11:08
4. Malcolm’s Theme 8:41
5. The Message 11:09

Free Jazz - RIP Ornette Coleman

Free Jazz – RIP Ornette Coleman

It was when I found out I could make mistakes that I knew I was on to something.

The Beard- EP 122 – A Tribute to Ornette Coleman by Beard Radio on Mixcloud

Free Jazz – RIP Ornette Coleman

After I left Texas and went to California, I had a hard time getting anyone to play anything that I was writing, so I had to end up playing them myself. And that’s how I ended up just being a saxophone player.

Free Jazz - RIP Ornette Coleman

Art and expression and feeling seem to be uppermost in the musical compositions of Ornette Coleman. I got into him years ago while flipping through used albums (searching for Rare Groove stuff) at a record shop in Santa Barbara. Free Jazz had a picture of Jackson Pollock’s 1954 painting The White Light, which I had been studying in a course I was taking at university. Without so much as a second thought, I added it to my purchase pile and, thankfully, have never looked back. While not as famous or well-known as other jazz musicians of his day, but like Pollock, Coleman was prolific and by subverting the mainstream movement, he expanded the palate and canvas for all artists to come.

Ornette Coleman, composer, violinist, trumpeter and alto-saxophone jazz bandleader, was born Randolph Denard Ornette Coleman in 1930. Unlike many of his slightly older jazz counterparts who passed away in or even perhaps before their primes (Charlie, Parker, Gene Ammons, Chet Baker, Art Blakey, Paul Chambers, John Coltrane, Stan Getz, Grant Green, Billie Holiday, et al), he lived a long and fruitful life with a career spanning 60 years. Not only did he enter jazz at a time in the late 50s when the genre was in retrograde against the high energy of 40s Bebop with the Birth of the Cool (Miles Davis) movement, the West Coast and Bossanova movements threatened to transport the universe in cool modal jazz mode ad infinitum.

Enter “Lonely Woman” (1959, a great year for Jazz) an original composition by Coleman that is the closest thing to a standard in the movement he co-lead with Cecil Taylor, John Coltrane, Charles Mingus and Pharaoh Sanders–Free Jazz. Free jazz was an attempt to break through the “rules” that had emerged as jazz convention throughout its young history. The musicians would do this by altering tempo, time signatures and chords changes. Mainstream jazz had come to be semi-rigid and free jazz was seen as an avant-garde alternative that strove to return jazz to its origins, such as in Coleman’s 6th album Free Jazz: A Collective Improvisation. Which is not to say that all those experimenting with free jazz were strictly Free Jazzers, so to speak. They were the Hippies after the Beat Movement, eschewing all classification and standards not by denigrating the past but by choosing a different route to build onto the past.

Throughout his early career Coleman put out nearly as many live recordings as he did studio albums. Apart from the quiet hiss of the studio monitors in contrast to the applause of a live audience, there is likely very little difference in what he would have played as in how he played it. It seems plausible that Time was the only difference to him in a song. As in how shall I play this song this time, or going even further, how will this song come out of me this time around? He says:

Jazz is the only music in which the same note can be played night after night but differently each time.

The man was flashy and poetic, while being down to earth and gentle. He had his troubles with record companies which is likely why his albums weren’t properly marketed and didn’t sell as well as some of his contemporaries. The early years with Atlantic got him in the game and he was at Blue Note during the hey day of that label, after which he jumped to multiple labels throughout the rest of his career, eventually starting his own with the release of Sound Grammar, the Pullitzer Prize winning album recorded live in Ludwigshafen, Germany, in 2005. A most notable moment includes “Sleep Talking” which begins with the same notes as Stravinsky’s The Rite of Spring. It is fitting that he ended his life in the late spring in New York, a city he came to but was not born in, and made some part of it, however small to him, bigger to the rest of us.

What Questions Not To Ask Bands

What Questions Not To Ask Bands


What Questions Not To Ask Bands


July 20, 2015

Pemberton Music Festival performers ask our reporter the questions they’re most sick of answering themselves. Featuring Run The Jewels, CHVRCHES, Earl Sweatshirt, Jack Antonoff, Matt & Kim, Kevin Drew, Reggie Watts, A$AP Ferg, Courtney Barnett, Real Estate, Portugal. The Man, Gorburger, and Preservation Hall Jazz Band.

Halfway to Music – 2015 Best So Far

Halfway to Music – 2015 Best So Far

The Beard – EP 121 – Best So Far 2015 by Beard Radio on Mixcloud

Halfway to Music – 2015 Best So Far

With albums like To Pimp A Butterfly from Kendrick Lamar, Carrie & Lowell from Sufjan Stevens, Choose Your Weapon from Hiatus Kaiyote, The Epic from Kamasi Washington, From Kinshasa from Mbongwana Star, In Colour from Jamie xx, Asunder, Sweet and Other Distress from Godspeed You! Black Emperor, The Bad Plus Joshua Redman, Cortar Todo from Zu, Why Make Sense? from Hot Chip, it has been a great five months of epic hip hop, jazz, and rock music releases.

But there is so much more that is running under the mainstream of top 40 radio play. Which is why you should be thankful for Public Radio. Beard Radio on 89.7FM KUCB goes to the edge of the musical pantheon and stretches the seams of what is mostly unheard these days. Thankfully we are not alone. Many sing the praises of the following artists, but there are so many more ears yearning to hear, that there is more work needs be done. So press play on the Mixcloud podcast player above and listen:

Bop EnglishConstant Bop – Dani’s Blues / Sentimental Wilderness
Courtney BarnettSometimes I Sit And Think, And Sometimes I Just Sit – An Illustration of Loneliness (Sleepless in New York) / Dead Fox
Sleater KinneyNo Cities To Love – No Cities To Love / No Anthems
Hop AlongPainted Shut – The Knock / Powerful Man
Speedy OrtizFoil Deer – Raising the Skate / My Dead Girl
WaxahatcheeIvy Tripp – Under A Rock / Poison
VietcongVietcong – Continental Shelf
BlurThe Magic Whip – Go Out
Built To SpillUntethered Moon – Living Zoo

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