A well-designed lyric video surfaced for Camae Ayewa's (a.k.a. Moor Mother) "We Got The Jazz," a new single featured in her upcoming release  Jazz Codes Deluxe , which is an enhanced digital version of 2022's excellent Jazz Codes .  From the desk of Stereo Sanctity: “‘ We Got The Jazz ’ is me thinking about how mediocre a lot of popular music is, about its capitalistic structures and how those placements are bought and paid for,”  Ayewa said of the song’s meaning.  “I'm speaking about the whitewashing of who's allowed to participate in jazz, who is allowed to participate in poetry, and asking where the room for innovation is, now and in the future. It’s also me thinking about my jazz band, Irreversible Entanglements, and how we’ve toured the world destroying stages, uplifting audiences, and inspiring everyone on the jazz scene with or without recognition. I'm also speaking about my own influence on the culture.” Jazz Codes Deluxe will be released 5/19/23

Good morning, Midweek. Spring is officially here. I've opened the windows.  First thing I checked out today was the title track of the upcoming new collaboration between Danny Brown and JPEGMAFIA , Scaring The Hoes .  The distinct and character-rich voices of each artist aside, the snare beat sounds like it was mic'd in a crawlspace, scratchy tenor sax scribbles across the track like a kindergartner enthusiastically dragging a marker across paper with a tight fist. Add a simple bass groove and claps.  I love it.  When thinking about minimalism in terms of production, the tinniness and sonic anemia of trap/drill beats and the ubiquity that this sound has had over the last decade or more across a multitude of artists hasn't had consistent appeal for me. That said, I get it: soundtracking a club, the bass drops are effective and the vibe is the draw.  But, "Scaring The Hoes" is minimalism done well. Looking forward to this album. __________ The Laurie Anderson alleg

Translated, "en glad stund" means "a happy moment."  A saxophone wheezes, light gasps taken between straining exhalations that barely gauge an audible whisper until a few clear and flatlined phrases are achieved overtop a sinister and steady tonal pulse. The eerie and suffocating environment that's composed and performed for "THERE ARE SOME WORLDS WHERE ALL DREAMS DIE (en glad stund)," the recently shared new single from the upcoming LP,  THEIR POWER REACHED ACROSS SPACE AND TIME​-​TO DEFY THEM WAS DEATH​-​OR WORSE , does not convey "a happy moment." Instead, these "worlds where all dreams die" facilitate an obviously intentional dystopian flavor, and it's difficult not to imagine some near-salvation scenario where the victim is close to safety but suddenly struggling as the advantage has changed hands and cries for help are buried as death envelopes the victim like a soundproof shroud. There's a lot of drama in those seven

Oozing Wound We Cater To Cowards Thrill Jockey Released: 1/27/23 No Ripcord review:  http://www.noripcord.com/reviews/music/oozing-wound/we-cater-cowards   Sincerely,  Letters From A Tapehead

Double Decker Records , located in Allentown about 40-45 minutes from my place of residence, is a store I normally go to when in pilgrimage mode, which is to say any visit is going to be an expensive, albeit fruitful, one. I met up with a good friend and proceeded to comb through the stacks for a couple of hours, leaving the store with an uncomfortable and somewhat heavy 12" x 12" brick nestled beneath my arm. I'm slowly working my way through these. Here are the first two:  feedtime Cooper-S Released: 1988 Rough Trade Partially integral to the development of sounds specific to the pacific northwest, or just Mudhoney's sound in general, feedtime of Syndney, Australia is muck-borne blues punk. Hyper slop'd and urgent,  Cooper-S , which was originally released in 1988 via the now-defunct Australian label  Aberrant Records , is a covers album that boasts some gravelly interpretations of "Fun Fun Fun" by The Beach Boys, three Rolling Stones tracks (my favori

To whom it may interest, Electro-propulsive instrumentalists ZOMBI premiered two new tracks via Unacceptable Color , a live music channel that apparently specializes in showcasing an array of fringe artists. Tracks are titled "Improvise, Adapt & Overcome" and "Bodies In The Flotsam" both baring the duo's signature synth-tonal stylings and clean percussion. In spite of the video's visual grain, the session is well produced.  Info was provided by Relapse Records . ZOMBI on Facebook ZOMBI on Instagram ZOMBI on Twitter ZOMBI on Bandcamp Sincerely, Letters From A Tapehead