Posts Tagged ‘Hidden Gems’

Wayne Rogers on The Plastic Cloud – S/T

It’s been a year of greats in Hidden Gems lately and rolling down the list of psych luminaries for contributors, the latest sees Wayne Rogers (Major Stars, Crystalized Movements, Magic Hour) take a turn looking inward for inspiration. This year has already seen Rogers add to his legacy with a solo LP on his own Twisted Village imprint and a new Major Stars on the way from Drag City next week. The guitar work of Rogers can be seen making an impact all over recent accolytes, from the cinder n’ smoke of Feral Ohms to the ragged grace of Wet Tuna. Wayne turns back to his earlier years with Crystalized Movements for a psych nugget that pushed his own boundaries. Check Wayne’s dive into the one-off wonders of The Plastic Cloud.

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Possible Humans’ Steve Hewitt on bZARK – The Welcome Storm

If you’ve spent any time haunting the halls of RSTB you’d probably notice that I have a soft spot for Australian indie. While most of their countrymates have been mining the offbeat jangles of The Clean or the scratched punk proddings of Toy Love, Possible Humans have taken a scrape through some American alternative highlights – Dinosaur Jr., Volcano Suns, R.E.M. – and come out with a sound that’s payed homage to the era without becoming a complete love letter. Their debut was issued in a scant run of 200 on the great Hobbies Galore and now gets its own US / worldwide issue on Trouble in Mind. Steve Hewitt from the band sent over a pick for the Gems series and it shines some light on an Aussie nugget from his youth.

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Chris Brokaw on Kevin Drumm – 1983 & Quiet Nights

If you traveled in certain circles in the ‘90s, in particular the kind that tipped towards the inward gaze of slowcore and the knotted tussle of indie then you’re likely already well versed in the works of Chris Brokaw. The artist spent years in the ranks of Codeine (drums) and Come (guitar), punching double on his indie-cred free coffee card with releases on Sub Pop and Matador in the same year. Throw in aughts favorite The New Year and a stint on Touch & Go and that indie rock bingo sheet is rapidly filling up. More recently Chris has been laying down down high quality solo spins that brush post-rock, jazz, and American Primitive, scoring for films, and occasionally flaying some brains in RSTB faves Charnel Ground alongside James McNew and Kid Millions. Just off the release of his excellent new LP for VDSQ Brokaw found time to kick in a pair of faves for the Hidden Gems series, giving the nod to experimental guitarist Kevin Drum’s run of CD-rs in 2013. Check Chris’ picks below.

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Ben Cook of Young Guv on Robbie M – “Let’s Groove”

When Ben Cook’s not holding down time in Fucked Up he’s genre mining as Young Guv. The solo project began around ’08 knocking through lo-fi garage and eventually winding through power pop and home recorded funk. I’ve always had a soft spot for Cook’s power pop prowess, the bulk of which came to a head on 2015’s Ripe For Love release for Slumberland. He’s returned to some of the same impulses this year with a new record for Run For Cover. Ben took a little time to riffle through his stacks for a record that’s been lost to to time and this one’s looks like it’s had a bit of impact on Cook’s funk sojourn on for Night School last year. Check his dive into Robbie M below.

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Ty Segall on Aphrodite’s Child – 666

As long as Hidden Gems has been a series, I’ve had a few folks on the shortlist for contributions. Pretty close to the top has always hovered Ty Segall, long a fixture here at RSTB, but also an understandably busy acquisition for the feature. As Ty’s latest, First Taste, approaches next month he’s found some time to think on a rare gem of psychedelic proportions while also giving a bit of insight into how it may have helped shape his new album’s sound. While First Taste might not reach double-fold prog lengths like Freedom’s Goblin its still mining an off-kilter pop sensibility, rooted in psych touches and prog embellishments. This time around the entire record is boiled down to sharp, punchy track lengths, a quality that also informs the third LP from Aphrodite’s Child. The band, and its harrowing, biblical epic 666, served as one of the first outlets for synth master Vangelis, but it’s equally a showcase for sharp-toothed soothsayer Demis Roussos. Though the band’s album spanned four sides of vinyl, they shook prog conventions by keeping the tracks rather tight, spurning the instinct towards improvisation, but not the instinct towards delightful excess. Check out how this album came into Ty’s life and the impact it’s had on his work.

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Nick Mitchell Maiato on Rusty Kershaw – Rusty…Cajun in the Blues Country

The new wave of Cosmic Americana brought in a lot of quality cuts last year, but one of my favorites had to be the debut from One Eleven Heavy —the softly choogled psych outfit that brought together members of Wooden Wand, Desmadrados Soldados De Ventura, Royal Trux, and Hans Chew. The band’s record shelves, undoubtedly stuffed with RSTB bait, seem like the perfect fodder to riffle through for the Hidden Gems feature. In fact, James from the band contributed a pick a little while back, long before things had solidified with the Heavy. So with their sophomore LP on the horizon I figured it was time to ask co-founder Nick Mitchell Maiato to dig into his collection and pick out a record that hasn’t cast nearly enough shadow on the majority of the listening public. He picked out a country classic, that, despite being a key Neil Young influence, hasn’t always been elevated to its proper due. Check out how the record came into Nick’s life and the impact its had on his songwriting.

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Caity and Shane of Olden Yolk on Tucker Zimmerman – Song Poet

Just last week Olden Yolk released their sophomore LP, a stunning mix of folk and subtle, blushing psychedelia. Its already pushing up the list of favorites for 2019, so naturally I jumped at getting a chance to look at one of the influences locked on the band’s own turntable. Caity and Shane give some background on finding, and constantly returning to, Tucker Zimmerman’s own sophomore stunner, his “Black Album,” originally issued with no title, and eventually rechristened Song Poet following a proper reissue in 2016. Check out how this record came into the band’s life and what makes it particularly special to them.

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Kevin Morby on Paul Westerberg – Stereo

As I’ve previously mentioned this week Kevin Morby’s latest is a double-wide opus to spiritual connection and a step away from his usual guitar grounded albums. It’s a big and bold move that’s vaulting Morby even further into the indie rock pantheon’s ranks of ambitious songwriters. That’s not to disparage his back catalog in the least, though. The artist’s rise over the last few albums has been a constant source of joy over here and its great to have Kevin contribute a pick to Hidden Gems. For his pick Morby dips back into his reserve of youthful influences for a Paul Westerberg solo jaunt. Check out how this Midwestern classic came into his life and ultimately what role it played in shaping his own works.

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Chris Forsyth on Robert Quine & Fred Maher – Basic

Over the past few years there have been few guitarists as singular and intriguing in moving the needle forward as Chris Forsyth. As I’ve mentioned in the past, he aims for some sort of ragged, ozone-blasted bliss and always come up shaking off the cinder and ash of sonic debris. He’s exactly the sort I’m always looking for with Hidden Gems – an artist with a perspective informed by years of carving through likeminded stringsmiths to better his feel for the instrument. Its no surprise that when asked what record was sorely overlooked he found solace in another singular guitarist, but his pick is as off the path of usual touchstones as one might hope. Picking a out a piece of Robert Quine’s history, Chris opts for an oft overlooked collaborative record from 1984 with Fred Maher. Check out how this came into his life and what impact the record and Quine have had on his music.

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Shana Cleveland on Charlie Feathers’ – Tip Top Daddy

I’ve long been a fan of La Luz’ surf-soaked garage pop, and that’s in large part to the contributions to guitarist/singer Shana Cleveland. As she’s built up a body of work apart from the group, first with the Sandcastles and now standing alone with the imminent release of Night of the Worm Moon, she’s proving to be a nuanced and nimble songwriter capable of shaking off the both the garage and surf tags to explore waters well beyond her original launching grounds. I implored Shana to pick out a record for the Hidden Gems series that she though was a true hidden gem, lost to the ages and slipping between the cracks of culture. She’s chosen Norton’s roundup of Charlie Feather’s acoustic obscurities. Check out what brought this record into her life and what impact its had on her personally and artistically.

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