Bad Liquor Pond - Blue Smoke Orange Sky 2012

Bad Liquor Pond was a psychedelic rock band based in Baltimore, Maryland. formed in 2006, the group released 3 albums, "The Year of the Clam, " "Radiant Transmission," "Blue Smoke Orange Sky" & the 7" vinyl single "Let The River Come."
The band has since dissolved and recruited new musicians, recording a full length album under the new name, Morels. It will be released in 2015. Enjoy!

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Amjad Ali Khan - Moksha 2005

Moksha is something of an odd affair as far as Ustad Amjad Ali Khan's work is concerned. ThoughKhan -- the reigning master of the sarod -- is usually more of a traditionalist, this album has eight short tracks rather than one or two long ones. Here, he's pumping out short, fresh compositions based on a set of lesser-known ragas and/or folk music from Bengal. Despite the lack of the long contemplative alaps that are so great, the compositions are still worth hearing. What listeners do get to hear on the album is a set of sparser mood pieces that can still be expressive in their brevity, and a nice showcase of Khan's athleticism on the sarod. The sound moves from light, positive aesthetics through more reflective moods and back. Overall, it's a nice album for newcomers, but a little overly light for those already attuned to Indian classical music. AMG.

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Beardfish - Sleeping in Traffic Part II 2008

Although progressive rock's popularity peaked in the '70s, it continued to enjoy a cult following in the 21st century -- and one of the noteworthy prog rock bands that came out of Europe in the 2000s was Sweden's Beardfish, who have no problem balancing intellect and emotion on their fourth album,Sleeping in Traffic, Pt. 2. The material on this 74-minute CD has plenty of complexity; tracks like "The Hunter," "As the Sun Sets," "South of the Border," and "Sunrise Again" have all kinds of twists and turns, and none of them adhere to a simple verse/chorus/verse/chorus format. But complexity never comes at the expense of feeling on Sleeping in Traffic, Pt. 2; nor does it come at the expense of humor. Granted, "humor" isn't a word that one often hears in connection with progressive rock -- which has often been accused of taking itself too seriously -- but it's a word that is definitely applicable on parts of this album, and some of Beardfish's sense of humor comes from having a healthy appreciation of the late Frank Zappa. Gentle Giant, Yes, Genesis, and Camel have all been cited as major influences on Beardfish, but the Scandinavians have learned some things from Zappa as well.Zappa had no problem being cerebral and goofy at the same time, and his oddball sense of humor is a positive influence on Sleeping in Traffic, Pt. 2. This album is a consistently appealing demonstration of what prog rock has to offer in the 21st century. AMG.

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Eyeless In Gaza - Drumming the Beating Heart 1982

Whereas previous Eyeless in Gaza material, especially the album Pale Hands I Loved So Well, was somewhat non-linear and improvisational, Drumming the Beating Heart emphasizes another side of the band's identity. Martyn Bates and Peter Becker take a more focused approach on this album, although they are working within a familiar idiom -- drafting melancholy, sometimes unsettling sketches with minimal percussion, introspective lyrics, emotionally charged vocals, and sparse, melodic keyboard and guitar patterns. Notwithstanding the atmospheric instrumental "Dreaming at Rain," which continues in the rambling, experimental vein that was most pronounced on Pale Hands I Loved So Well, this material finds the Nuneaton duo fashioning their stock sonic components into more immediately accessible, conventional song structures, albeit at the avant end of the pop spectrum. This departure is evident on the single "Veil Like Calm" (which also marked the band's first foray into music video), and the stripped-down, staccato guitar funk of "Two." A salient characteristic of this album is its juxtaposition of the fragile and reflective alongside the jagged and fraught, sometimes in the context of the same track: On "Transience Blues," for instance, Bates' urgent, almost pained vocals and a shuddering rhythm are shadowed by haunting keyboards. Drumming the Beating Heart's most compelling tracks are those that underscore the influence of traditional English folk forms on Eyeless in Gaza's work. Although it's rendered in a considerably pared-down manner, that influence manifests itself particularly on "Ill Wind Blows," with its droning keyboard and bare, rattling percussion, and on the short, vocally intense "Picture the Day." Listened to alongside the band's earlier projects, Drumming the Beating Heart reflects Eyeless in Gaza's growing maturity. The newfound cohesion and developing pop sensibility demonstrated here would be more fully realized on Rust Red September the following year. AMG.

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Buffalo Tom - Let Me Come Over 1992

Over was truly the great leap forward for the band, sounding richer, more imaginative, and more emotionally powerful than anything they'd attempted in the past. Guitarist Bill Janovitz, bassist Chris Colbourn, and drummer Tom Maginnis individually displayed a greater command of their respective instruments, and collectively their interplay was certainly more confident and intricate, having traded in the muddy clamor of their first recordings for a more layered sound (complete with overdubbed acoustic guitars) that was clean, vibrant, and compelling. (Producers Paul Kolderie and Sean Sladecertainly helped, bringing a clearer and better focused sound to these sessions than J Mascis drew from the band.) And while Buffalo Tom was shouting less on Let Me Come Over, they seemed to have a lot more to say; there's a heart and soul to the lovelorn "Taillights Fade" and the yearning "Velvet Roof" that digs a good bit deeper than their previous work (and is also a lot easier to sort through), while even hard rockers such as "Stymied" and "Saving Grace" reflect a new maturity and seriousness of purpose. In fact, if Let Me Come Over has a flaw, it's that Buffalo Tom seems to display a bit lessjoie de vivre than one might have expected, though after gaining this much in the way of both skills and smarts, you can't blame them for wanting to show them off a bit. AMG.

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Barn Owl - Lost in the Glare 2011

In five years, San Francisco's Barn Owl have amassed a nearly prolific catalog in a variety of formats: singles and EPs, limited-edition CD-Rs and cassettes, as well as standard LPs and CDs. Lost in the Glare marks their second album for Thrill Jockey and eighth overall; it follows the TJ 12" EPShadowland released earlier this year and, like it, was recorded at San Francisco's Lucky Cat by engineer Phil Manley. While Barn Owl have always pursued their own kosmiche aesthetic, guitaristsJon Porras and Evan Caminiti have built upon it subtly over the years. Lost in the Glare is a culmination of that exploration, and in its own deliberate manner, points to a new, more expansive sonic direction. Over eight cuts and 41 minutes, Lost in the Glare reveals itself to be the most dynamic and diverse record in Barn Owl's oeuvre thus far, though it may not seem that way initially. Opener "Pale Star," with its delicate balance of strummed and fingerpicked guitars, creates a typical, quiet, trance-like drift. That said, on "Turiya" (titled for Alice Coltrane's spiritual name) however, it becomes abundantly clear that something new is afoot. With slow, plodding, brooding drums by Jacob Felix Heule, the distortion and long, deliberately strung-out single-line melody followed by an amped-up series of chord changes (on guitars and Farfisa organ) makes it the most obviously post-psych thing they've recorded to date. An Indian tanpura drones amid speculative guitars on "Devotion I," as cymbals and bells sparsely illustrate the backdrop. While its tempo never changes, everything in the mix becomes more formidable. "The Darkest Night Since 1683" might be an homage to Earth given its barely controlled distortion and blasted-out volume, making it the most menacing cut here. "Midnight Tide" is a mysteriously blissed-out affair until about midway through, when percussion enters, and open, washed-out sonic fields envelope it. "Light of Echoes," though populated by repetitive changes and single notes, becomes a hovering, imposing meld of kosmiche-filled tension, before "Devotion II" commences with a minimal intro then builds to a truly apocalyptic climax to close. While Lost in the Glare is, without question, an instantly recognizable Barn Owl offering and employs their now signature elements, it moves into a welcomed, previously uncharted sonic and psychic terrain. AMG.

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Steve Ferguson & the Midwest Creole Ensemble - Mama U-Seapa 1995

The second solo album by former NRBQ guitarist Steve Ferguson and his new combo, the Midwest Creole Ensemble, Mama-U-Seapa finds the Louisville, KY-based guitarist reunited with his old bandmates for a couple of songs, including a boogie-woogie Terry Adams instrumental called "Hey Little Brother." (The other two covers are an odd pair: Piano Red's hoodoo jive "Coo Cha" and the Time's silly funk "Jungle Love," both of which Ferguson treats like they were his own.) Ferguson's originals are a sly mix of New Orleans swing, Memphis soul, and Nashville rockabilly, and his aptly named band brings enough funk and spirit to power even the couple of tracks that aren't top-drawer material. This is a soulful, rocking good time. AMG.

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Sister Double Happiness - Heart and Mind 1991

Quite a few hard rock bands in the early '90s took their equal love of alternative rock and heavy metal and managed to make a few great records. Sister Double Happiness is one of the bands that tried this formula, but despite their efforts, this album never quite clicks. The major problem is the production byKevin Laffey; it takes the bite and power out of the guitars and pushes singer Gary Floyd too far above the mix. This gives the album a weird, soulful feeling that does not compliment the sound they are trying to achieve. Certain tracks, like the shambling "Exposed to You," maintain interest because the songwriting rises above the mix. But for the most part, the songs do not warrant such a weak production. Faith No More keyboardist Roddy Bottum lends his skills to the album, but his organ playing is hard to hear and not worth the investment by Faith No More collectors. This is a soft, unenjoyable rock album that cannot be recommended. AMG.

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Mojo Perry - Milwaukee 2013

As the founding father of the "Northern Sound", Mojo Perry is no stranger to the guitar. Beginning at age five, he quickly graduated to performing in taverns. Standing out among other guitarists in the area, he released his first recording at age 16.  The material had Mojo’s distinct fingerprints, a signature sound, and showed exceptional potential.  He was virtually always, and still can be, found in a recording studio laying down tracks and developing his craft.
Mojo’s first official label release came when he was 23. His brainchild, the "Wandering Gypsies", realized modest success with their record, "The Man". Having authored hits that are still engaging an ever- expanding audience, "The Man" provided Mojo a foundation for inspiration. Setting off on his own path, Mojo resolved to discover the true identity of his music. As a session guitarist in Chicago, he thrust himself into the Blues and often found himself backing well-known artists. All the while he worked aggressively to refine his Art and experiment with Psychedelic music in the studio and at live performances.

Identifying his style as the "Northern Sound", Mojo Perry’s first solo recording, aptly titled "Bookmaker", was released in 2000.The album proved to be a workhorse for Mojo and landed him in broader markets. Although he came from the blues, Mojo fused Psychedelic Rock with extreme acid overtones in live performances. His new recording proved that his vision of Psychedelic Blues Rock could be caught on tape. Several songs on “Bookmaker" are highly requested at shows and receive continued radio airplay.
Mojo then graduated from taverns and clubs to the festival circuit, once again sharing stages with artists previously out of his reach. He’s considered a favorite on the circuit for his wildly aggressive Psychedelic guitar playing and unerring passion. Yet, Mojo still remained true to his chosen creative path. His 2003 release, "Closer To The Far Away", made clear to new audiences and long time fans alike that he was distinct and cultivating something very different.
Blending Art, Blues, and Psychedelic Rock, and his unique style of guitar playing, Mojo Perry hit pay dirt. National and international attention progressed and his audience grew considerably. He performed his "Northern Sound" nationally and eventually caught the attention of guitar legend Chris Duarte, (Shrapnel Records). A friendship ensued, and they partnered to produce “Echoing Endlessly Inside My Head”. While it incorporated his typical fingerprint, the record once again demonstrated Mojo Perry’s unique ability to reinvent. Before fans could even ask, “What’s next?” Mojo released “Two Equals One”; a stripped down acoustic album that contained an unexpected, raw, sensitive, and brutally honest side of Mojo.
In 2011 Mojo Perry published “Absinthe Journeys”, and the album hit a home run! The release generated and intensified international recognition for its refined creativity, songwriting, and the distinct vibe that the album offered.
Between 2010 and 2012, Mojo Perry performed in bars, theatres, and concert halls in Thailand, Japan, England, France, Germany, the Netherlands, Italy, Spain, Ireland, and more than 27 states in the USA; doing all the shows with his now world famous Cigar box Guitar, “Rosie”. His outlook for future record releases is at an all- time high. Fans can expect three releases in 2012. The first, titled “Milwaukee”, features collaboration with Chris Duarte, (Shrapnel Records), and Victor DeLorenzo, (Violent Femmes). The second in line, “Wonderland”; an Avant- Gard Psychedelic fusion album that will also include Chris Duarte and Victor DeLorenzo but will feature Dove Dewey, (Right From Rona) as well. The third, yet untitled, will drop late in 2012 or early 2013. With Mojo Perry’s history of reinvention from song to song and record to record, a huge explosion of Art and Creativity can be expected!
However, Mojo still considers his music to be "underground." Quoted in a 2008 interview in the "Underground Times" he stated, "I come from the underground and I will always be a part of the underground.” Many call him a revolutionary in the evolution of Blues… a 21st century blues man. MojoPerry.com

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Louis Moholo, Larry Stabbins, Keith Tippett - Tern 1983

Originally released in 1983 on the tiny SAJ label (a subsidiary label of the cult fave European free-improv label FMP) but reissued by Atavistic as part of their Unheard Music Series in 2003, Tern is a live recording gathering pianist Keith Tippett, saxophonist Larry Stabbins (late of the jazz-influencedYoung Marble Giants' spinoff Weekend and soon to form the long-running pop-jazz duo Working Week), and South African percussionist Louis Moholo, who doubles on cello at times. The album title refers both to a set of three, and to a small, pretty shore bird native to the U.K., and unlike many free improvisational performances, much of Tern actually falls under the general descriptor "small and pretty." All three players draw from a conventional jazz background as well as their more experimental excursions, and their interplay is largely free of the honk-blat-phwee, with only brief passages of the two-part title track edging towards cacophony. By contrast, the closing "The Greatest Service" is downright placid, a low-key end to an often-enchanting performance. AMG.

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Mike Watt - Contemplating the Engine Room 1997

Mike Watt, recovering from his all-star alterna-rock debut solo album, returned in 1997 with what is perhaps the strongest album he has ever made. Of course, his earlier Minutemen albums will forever go down as landmarks, but in retrospect, many of the band's SST releases were brilliant but uneven affairs that put polemics (and great song titles) over consistent songwriting. Unfortunately, much offIREHOSE's oeuvre is rife with inconsistency, and on Watt's first solo project, he and his songs were overshadowed by a boatload of high-profile musicians who contributed to the album. Contemplating the Engine Room is Watt's masterpiece, what he calls "a punk rock opera." This is a concept album that works on every level: musically, lyrically, and (most importantly) conceptually. Watt (who sings and plays his trusty bass guitar), drummer Steve Hodges, and guitarist Nels Cline form a psychic bond that allows them to dexterously maneuver the complex terrain Watt has laid out in his songs, which celebrate three guys playing together, punk rock, life, and his relationship with his dad. AMG.

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Little Feat - Representing The Mambo 1990

The reunited Little Feat surprised listeners with the smooth assurance of 1988’s Let It Roll, a slick update of their loose-limbed boogie that managed to be faithful to their past while belonging to the present, but their 1989 follow-up, Representing the Mambo, tipped the scales in the direction of the modern, encasing every one of their signatures under layers of glossy varnish. It’s easily their clearest stab at a commercial crossover, a distinction that’s glaringly obvious when the synthesized grind of “Teenage Warrior” is contrasted with the abandon of their early classic “Teenage Nervous Breakdown,” but most of Representing the Mambo is delivered with this stiff, synthesized sheen, which only becomes more apparent when they delve into jazzy sub-Steely Dan territory, as they do with a pair of Hollywood tales at the end of the record. Neither are especially sharp, either lyrically or musically, and the dull songwriting suggests that this record was cobbled together quickly after the success of Let It Roll; apart from the New Orleans stomp of “Rad Gumbo,” the songs are limp grooves that never catch hold because they’re dampened by that immaculate production, the one thing that was meant to be modern and now only makes Representing the Mambo feel like a forgotten artifact preserved in amber. AMG.

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Father John Misty - Fear Fun 2012

As J. Tillman, indie folk crooner Joshua Tillman painted sparse, often melancholic fever dreams that paired the wounded isolation of Nick Drake with the star-crossed country romanticism of Gram Parsons, a sensibility he also brought to the table as the drummer and backing vocalist for Seattle'sFleet Foxes. His latest incarnation, Father John Misty, adds Harry Nilsson and Skip Spence to the mix, skillfully imbuing the woodsy Pacific Northwest bark of the Foxes with a patina of vintage Laurel Canyon-inspired bohemia. Fear Fun opens with "Funtimes in Babylon," one of three tracks, including "Only Son of the Ladiesman" and "Everyman Needs a Companion," closely echoing the hymnlike sonic breadth of his former band. All three cater to his strong, clear voice, which sounds like a cross between Mark Kozelek (Red House Painters, Sun Kil Moon) and Jonathan Meiburg(Shearwater/Okkervil River), but it's tracks two and three that provide the album with its most transcendent moments. "Nancy from Now On," with its shambling protagonist ("Pour me another drink and punch me in the face"), likable gait, and legitimate yacht rock chorus, is a triumph of both style and substance, while the thick and brooding "Hollywood Forever Cemetery Sings," which ceaselessly wonders "Jesus Christ girl/What are people going to think?" amidst a wall of wet distortion and appropriately thunderous drums, benefits from singer/songwriter/Laurel Canyon scene revivalistJonathan Wilson's warm and spacious production. Fear Fun's deft mix of folly and grandeur strikes a nice balance between the over the top hippie shenanigans of Edward Sharpe & the Magnetic Zerosand the vapid, calculated debauchery of Lana Del Ray, painting the artist as a self-destructive/deprecating Californian gadfly with one foot in the Salton Sea and the other in the lobby of the Chateau Marmont. AMG.

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