Posts Tagged ‘75 Dollar Bill’

Best of 2019 (so far)

It’s been a hell of a year so far and now it’s time to run down the albums that have stuck around the turntable the longest. For all the fraught emotions and everyday injustices, there’s still some bright spot of solace in music. That’s not a trade-off, but its something to keep you going. As usual, these are the best records that filter through the Raven aesthetic. I’ll be off next week on vacation so this 30-spot plus the ensuing two and a half hour mix will have to hold you for a week. Gonna take a break until the 2nd week of July. The second half of the year already has a few front runners, so enjoy these gems before the tail end of 2019 comes running atcha.

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75 Dollar Bill

On their previous album, Wood/Metal/Plastic/Pattern/Rhythm/Rock 75 Dollar Bill scratched out a new high water mark, taking their austere setup (guitar and wooden crate) to new heights via repetition dropout zones of buzzing bliss. It’s four tracks packed more experimental rhythm riot than pretty much any other LP that year. It seemed a hard bar to hurdle, but the band’s not only bested that slab, they’ve soared far over its ambitions to create one of 2019’s most vital shakers. At double the length, and spanning four sides, the LP isn’t holding anything back. Rick Brown and Che Chen lead their troupe further down the wormhole of rhytmic wrangle than ever before with tracks stretching in excess of sixteen minutes, beset by locklimbed tangles of strings, stomps, skronk, and saw. It’s hypnotic in its execution and brilliant in its scope.

As with the previous album, whittling this just down to Brown and Chen is only half the equation. I Was Real owes just as much to its gathered ensemble as its predecessor, with a cadre of collaborators adding sax, viola, synth, contrabass, and additional guitars to the mix. The players summon a primeval boogie that resonates deep from the earth’s core and smelt it into audible heat. The band has made it adamant that they don’t consider this blues, but it’s a close cousin. When not doused in drones, the record is bursting with boogie – a kind of shaggy, euphoric, sweat sequined strain of boogie that’s more akin to the brokedown soulshake of someone like the name-checked Tetuzi Akiyama (see: track #3).

Like Akiyama’s Don’t Forget To Boogie the band deconstructs the heartbeat hum of ionic vibrations broadcasting from every environ and contorts them into shards of guitar that slice at the listener with a satisfying scratch. The band hammers on phrases, digging through Middle Eastern fuzztone and African Tuareg desert blues with equal hunger. The record is a sun ritual for a new age, dancing out the technological marvels of our time and crushing them into clatter matter, shaking their shambles along to the insistent beat and loosing all tethers in the process. As the title asserts, this is real – a tactile, turbulent, throttle that shakes up the last reluctant bones in one’s system and frees the listener from a life of stagnation. Get this on the turntable as soon as humanly possible.



Support the artist. Buy it HERE.

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75 Dollar Bill – I Was Real

If you missed out on 2016’s highly underrated Wood/Metal/Plastic/Pattern/Rhythm/Rock from 75 Dollar Bill, then this seems like the perfect time to jump onto the band’s sound. Melding the current free-jam inclinations of improv live sets with a guitar sound that picks at the kind of Haino/Akiyama boogie blended with West African blues, the band has long been a singular entity on the scene. They’ve just announced a new ripper for Thin Wrists / Black Editions and prefaced it with a live recording of a portion of the album’s title track, “I Was Real”. This time around the duo of Che Chen and Rick Brown are joined by a larger ensemble that wrangles in eight additional players, adding to the desert blues vibes of communal playing for social spaces. Check the trance lockdown into burner blues vibes in the video below and look out for the new LP June 28th.



Support the artist. Buy it HERE.

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