320 kbps | 177 MB | LINKS
Earth to Ursa Major was written/recorded/mixed by jordaan mason in their apartment and in the stairwell of their building using an app on an old cell phone and some free software on a computer between february 2017-february 2018. this includes ruhee, valley, and ev’s parts, but otherwise all of the other players recorded themselves and sent their tracks to be mixed in. jordaan wrote all the arrangements except for the parts performed by ev and sylvia, which they wrote themselves. the album was mastered by matt ross.
the song “grief poem (everything’s collapsing)” was partly inspired by the writings of vito russo, whose archives i visited at the new york public library a number of times between 2013-2014. the phrase “humiliating sobriety” in the song “fire/housework” comes from walter benjamin. “made and remade continually” makes several references to virginia woolf’s novel “the waves,” including the title of the song, which is a direct quote from the book. the line “i’d like to propose a watermelon” in the title track comes from my husband jason aviss. “awl/leather” makes reference to leonard cohen’s song “anthem.”
the cover photograph was taken and edited by tara fillion. jordaan designed and built the ursa major constellation out of felt and yarn on a blanket given to them by dee addario. the cat vest was a gift from sylvia haynes. the constellation socks were lent by jason aviss. the star leggings were an honest ed’s find (what will i do without you?).
all my love and thanks—
to jason, my family, cong, sylvia, kristina, val, sarah-tai, tara, james, steve, michael, brock, andrew, jonathan, max, never, dan, sharon, tim, mike, bret, tristan, lowell, mitch, and all my pals in the box office—for encouragement, listening, talks, walks, smokes, jokes, instrument lends, and all the rest, you’re the best
to the featured players who contributed their time and energy to this recording project and brought the sounds in my head to life, and to matt for his amazing ear and heart in the mastering process
to the piano goddesses who bestowed upon me a free piano just because i filled out a survey, with which i wrote and recorded the majority of this record, it came into my life at a time when i really needed it (can’t you tell?)
and to you, for listening .
320 kbps | 170 MB | LINKS
Named after the rough and ready bars where labourers gathered to drink and dance, barrelhouse was a raucous form of piano blues that got the juke joints swinging. From early pioneers such as Cow Cow Davenport and Speckled Red to the boogie-woogie legends Pete Johnson and Albert Ammons, this collection charts the rise and incredible influence of this good-time blues. Featuring many legendary blues pianists including Leroy Carr, Cripple Clarence Lofton and Montana Taylor, this album highlights how the piano has always been at the very core of the blues. It includes many forgotten gems by artists shrouded in mystery •
Tracklist:
1. Speckled Red – The Dirty Dozen
2. Jimmy Yancey – Slow And Easy Blues
3. Cripple Clarence Lofton – Strut That Thing
4. Will Ezell – Heifer Dust
5. Walter Roland – Watcha Gonna Do?
6. Cow Cow Davenport – Cow Cow Blues
7. Romeo Nelson – Head Rag Hop
8. Roosevelt Sykes – 32-20 Blues
9. Clarence “Pinetop” Smith – Pinetop’s Boogie Woogie
10. Skip James – If You Haven’t Any Hay Get On Down The Road
11. Turner Parrish – Fives
12. Bert Mays – You Can’t Come In
13. Meade Lux Lewis – Honky Tonk Train Blues
14. Charlie Spand – Soon This Morning Blues
15. Herve Duerson – Avenue Strut
16. Victoria Spivey – Hoodoo Man Blues
17. Henry Brown – Henry Brown Blues
18. Little Brother Montgomery – Vicksburg Blues
19. Jabo Williams – Pratt City Blues
20. Pete Johnson & Albert Ammons – Barrelhouse Boogie
21. Bob Call – 31 Blues
22. Freddie “Redd” Nicholson – You Gonna Miss Me Blues
23. Montana Taylor – Detroit Rocks
24. Louise Johnson – On The Wall
25. Leroy Carr & Scrapper Blackwell – Barrelhouse Woman No.2
320 kbps | 82 MB | LINKS
Since the late ’80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid.
Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm’s raw yawp and his bandmates’ long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. “My sense of humor is dark, and these are dark times,” says Arm. “I suppose it’s only getting darker.”
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