April ’20


I loved Jungle’s 2018 album For Ever, and am just now circling back to hear their 2014 debut. Pleased as punch to find several more gems from this English “collective,” as apparently they prefer calling themselves. At the core of this collective are childhood friends Josh Lloyd-Watson and Tom McFarland, both masters of electronica. Amazing vocal harmony mixes here; incredibly credited to only one person (Rudi Salmon). Love the first six songs, then things fall off. Still, there’s an incredible vibe to everything they do. 

Pigeonhole: Neo soul, funk, neo disco


There is something deeply calming and peaceful about M. Ward’s latest, Migration Stories, his tenth album. By the end of the second song, “Heaven’s Nail and Hammer,” I was fully engaged in the halcyon depths. The third song, “Coyote Mary’s Traveling Show,” is a particular standout. These cuts were inspired by stories of migrants, in Ward’s own country of Canada, but also in the sometimes-hostile environment of his adopted United States. It’s a subject close to his heart; his grandfather immigrated to the US in the 1920s from Mexico. Ward’s interpretation of the hundred year-old “Along the Santa Fe Trail” is particularly wonderful. Ward is also member of She & Him and folk-rock supergroup Monsters of Folk. His playing style is considered an example of American primitive guitar, utilizing fingerstyle plucking with fingernails or finger picks.  

Pigeonhole: Indie folk


San Francisco DJ Justin Martin has dropped a new single, “Stay,” with great vocals and lyrics by Dalilah. This is not to be confused with the 2014 Justin Martin remix on Henry Krinkle’s single “Stay,” which is a totally different jam. Or the four other mixes of “Stay” on that Krinkle disc. I’m clearly missing something with this obsession with the word stay. Also, checked out the remixes of Martin’s 2012 Ghettos and Gardens. It’s good, not great. “Butterflies” (Cats ‘n Dogz remix) is a little redundant but okay. I have a file in Spotify titled Sex Music, where I immediately copied the Danny Daze remix of “The Gurner,” featuring Pillow Talk. “Don’t Go’” (Leroy Peppers remix) is pretty stellar, too. 

Pigeonhole: House, electronica 


Britt Daniel is one of my favorite voices in rock. At times the Spoon lead singer’s voice is smooth as butter, and at other times he sounds like he’s gargling gravel. Or yelling. Daniel’s knows how to let his voice convey more than just words, like on pretty much any track on They Want My Soul, the Austin band’s eighth studio album from 2014. The lead track “Rent I Pay” sets a high bar for the rest of the record, and it delivers. “Inside Out,” “Let Me Be Mine,” and “New York Kiss” are all terrific. More of Daniel’s genius can be found on his 2012 side project with the Divine Fits. “Would That Not Be Nice” is perhaps my favorite song released that year.

Pigeonhole: Indie rock


Todd Terje It’s Album Time (2014)

This was Terje’s debut, which took him three years to create and produce, and it’s his only solo work to date. Terje is a Norwegean DJ and producer who’s a multi instrumentalist and master of all things electronica, including the arpeggiator. There’s no common thread on this album; it veers wildly between cheeky electronic play (“Leisure Suit Preben”), to full-blown samba (“Svensk Sas”), to Seventies porno soundtrack ready (“Preben Goes to Acapulco”). The only commonality is Terje’s tongue-in-cheekiness; he never takes himself too seriously. The poppy “Johnny and Mary” is a cover of a Robert Palmer song that drags a bit under the weight of guest vocalist Bryan Ferry (after a few passes, I grew to like it). Terje’s most played tune is the Daft Punk reminiscent “Inspector Norse.” If nothing else, this album is an hour’s worth of quirky dance beats and pure entertainment. Perhaps the best description of this album’s mood can be summed up in the title, and the beat, of the second to last track: “Oh Joy,” a total throwback to the gay disco floors of the late Seventies (I assume), and just a whole lot of fun to experience.

 Pigeonhole: Nu-disco; electronic, exotica 


Elephant Stone Hollow (2020)

This fifth album from Canadian indie rock band Elephant Stone incorporates East Indian instruments (sitar, table, dilruba) with mostly pleasant results. The fist two cuts are strong, the next three land rather flat. But from there things really take off as “We Cry” bleeds into “Harmonia” to elevate the album to the next level. “I See You” is a tasty slow groove (a la Tame Impala) with a nifty final minute. “The Clampdown” is a nice burn. “Fox on the Run” has some U2 elements. “House on Fire” is the album’s best, with a chord progression in the chorus that reminds me of a song I still can’t place. The final cut “A Way Home” is the weakest.

Pigeonhole: Indie, psychedelic rock


Alaina Castillo just might be the next Youtube success story, perhaps on the scale of Alessia Cara or Carly Rae Jepsen. Two years ago as a senior at a Houston high school, Castillo’s video “Sing You to Sleep” exploded on Youtube with a quick million views. Now, Spotify has signed her to its platform called RADAR, which gives developing artists publicity and support. Her debut EP The Voicenoteswas released today and all four cuts deliver. I hear echoes of King Princess, particularly on “Sad Girl.” 

Pigeonhole: Pop


As a possible alternative to the Stevie Wonder suggestion for Earth Day (previous post), might I suggest ZOMA by the English band Glass Animals (2014). Several cuts transition into each other with the jungle sounds of birds and insects. The cut “Toes” was developed as a musical interpretation of the novels Heart of Darkness and The Island of Doctor Moreau. Other cuts with earthy titles like “Hazy,” “Pools” and “Gooey” further the theme of nature. If you need to chill and lower your blood pressure, ZOMA could be the perfect accompaniment. Mello nearly to the point of monotone, this album is sparse but colored beautifully with the soothing falscetto of Dave Bayley.

Pigeonhole: Psychedelic, indie pop


It’s Earth Day #50, the perfect excuse to listen to Stevie Wonder’s Journey Through the Secret Life of Plants from 1979. In the beginning, of course, there was Earth, and so begins the album, with “Earth’s Creation,” which, thanks to crashing cymbals, suggests more of a Big Bang theory than the six-day undertaking suggested in Genesis. But that’s a bigger bite than I can chew right now. Next we hear the sounds of a newborn jungle, with bird chirps and primate screeches, as the earth, and the album, come to life (“The First Garden” and “Voyage to India.)” Wonder’s first vocal appearance isn’t until the forth cut. The only single from the album, “Send One Your Love,” has nothing to do with nature or plants or Earth, unless you count the line: “Send her your love/With a dozen roses.” One of my favorite moments is the stereo affect of a housefly in “Venus Fly trap And The Bug,” buzzing from the left to right channels. But the album is, for the most part, insufferable, with only occasional nods to interesting. 

Pigeonhole: New age


Wasn’t aware of the term “blue-eyed soul” until I saw it used to describe Scottish singer/multi-instrumentalist Paola NutiniJoe Cocker (green eyes) and Rod Stewart (brown) were early examples of this style, but it was the hazel-eyed George Michael’s Faith (1987) that became the first record by a white artist to top the R&B/Hip-Hop charts. Nutini’s third album Caustic Love (2014) has several great rhythm and bluesy cuts (“Numpty,”  “Looking For Something”). Nutini’s vocals are rich with emotion and power, perhaps best demonstrated on “Cherry Blossom.” Jannelle Monae offers a sweet rap on “Fashion.” 

Pigeonhole: Pop rock, soul rock, folk, blue-eyed soul


In honor of today’s date, I Googled: “best albums to smoke to” and found a familiar list (Dark Side of the MoonBeach House). Also some surprises, like a lovely disc from an Icelandic outfit called Sigor Ros. Their 1999 album Agates Byrjun (“good start” in Icelandic) is heavy on orchestration and other worldliness. The opening cut is dreamy and trance inducing, all ten minutes of it. Part of the tripiness of the collection is that it’s sung entirely in Icelandic, something rarely heard in pop music. Even Iceland’s most famous musician Bjork sings entirely in English.  Sigor Ros’s lead singer Jonsi Birgisson offers mostly understated falsetto vocals and plays a variety of instruments, including the bowed guitar, a guitar played with a bow and not a bent guitar, as I initially envisioned. 

Pigeonhole: Art rock, dream pop, ambient


Ed O’Brien’s debut, away from his day job as guitarist of Radiohead, just dropped and it’s everything you’d expect from a musician with his pedigree. The earlier singles are all here and great, along with five new cuts that collectively make up Earth. It’s hard to image anything pushing this out of my top ten for 2020. If there was any doubt of O’Brien’s influence on Radiohead, this album can dispel that. The blusy, Clapton-esque, “Deep Days” is infectious and incredible. “Long Time Coming” could have been a Cat Stevens single in the seventies (which is not a bad thing). “Banksters” is the best of the new ones. The only one I didn’t immediately connect with is “Sail On.” But maybe time will change that. From the earlier singles, “Shangri-La” and “Brasil” are incredible.

Pigeonhole: Alt rock, electronic


It’s probably safe to say you’ve never heard anything like Fiona Apple’s brand new album, Fetch The Bolt Cutters. There’s no simple way to describe it other than layered and complex. There’s as much jazz influence as rock. Based on the reaction so far, it will end up as one of the top albums of the year, maybe the album of the year when it comes awards time. The main elements here are percussion, piano and Apple’s incredible voice, which seems capable of absolutely anything she dreams up. And not standard percussion, either, but found objects from her Venice Beach home where much of Bolt Cutters was recorded. These aren’t melodic tunes; there’s nothing to hum or tap your foot to. But it’s pure musical genius. Comparisons to Joni MitchellKate Bush and Tom Waits seem fair. Apple has said the album is about breaking out of your personal prison with a set of bolt cutters. She pushed her record company to release the album now, instead of October as planned, as an offering to those in lockdown. Apple credits her own pre-covid self-isolation as essential to the development of the album.

Piegeonhole: Industrial 


Before my Covid hiatus I posted about Beck’s 2019 album Hyperspace, which I found super enjoyable. Today I went back a few more years, to 2014, and found something even better, the absolutely incredible Morning Phase. It’s a brilliant and haunting collection, particularly when heard for the first time while wandering the barren streets of Los Angeles at what normally would be rush hour on a Friday. But today, like every other day of Lockdown, there’s little traffic and almost no one out, and those who are out are almost all wearing facemasks. When the seventh song comes on, “Wave,” it feels like a commentary on this gloomy moment. It starts off bleak and suspenseful against an orchestral backdrop, with lyrics about a “form of a disturbance.” It ends, appropriately, with the Beck singing the word isolation four times, building to a chilling crescendo. A little later, “Morning” includes the line “can we start it all over again,” which happened to be the question on everyone’s mind, in terms of opening up the economy post Lockdown. “Blue Moon” has moments of Beach Boys harmonies. “Heart as a Drum” feels like a misplaced Iron & Wine tune. I often mark times in my life with albums. This may be the one for now.

Pigeonhole: Folk rock


Ty Segall has twelve album titles to his solo career and until I started researching the best LPs of 2014, I’d never heard of him. But that year Manipulator was released, and it got a lot of attention for its delicious retro, garage band fuzziness. Segall’s throwback sound ignites a nostalgia that belies his comparative youth (26 when it was released). He’s the mastermind of everything you hear, vocals, guitar, drums, bass and keyboard. Echoes of The YardbirdsThin Lizzy and Bowie are numerous. Seventeen cuts makeup this double album, with many highlights, like the ferocious “The Crawler,” “Feel” (not to be confused with the sixteenth cut “The Feels”) and “Green Belly.”

Pigeonhole: Garage rock, retro rock 


The Dutch deep house trio Cubicolor released their second album last month, Hardly A Day, Hardly A Night, which was written and developed entirely while on a boat in Amsterdam. This sophomore effort unfolds very slowly. When vocalist Tim Digby-Bell makes his enterance (more than a minute into the second cut), I immediately hear echoes of Tyrone Lindqvist of Rufus du Sol (and again on “Wake Me Up”). This twelve-tune collection could stand a little more development; in fact I’m not sure it ever really reaches its potential. Too many moments that drag (like “Kindling”). Perhaps a producer with more imagination could have made it really pop. But there’s reason to keep watching these guys.


Obviously, something has gone terribly awry. I won’t trouble you with the details, other than to say that Covid-19 hit close to home. Both parents hospitalized, both now recovering. When I had a minute during this familial crisis, I retreated to music I already knew. I didn’t have time or focus to concentrate on new music. But I believe I’m back now, as I await the other shoe to fall.

March ’20


No one can accuse Beck of being a formulaic songwriter. He’s a chameleon without a signature sound. Last year’s Hyperspace was the latest example of his experimental approach. Produced along with Pharrell Williams, these eleven songs weave a narrative backed by everything from synth-pop to Delta blues to low-fi psyhcedelia. Beck tapped into Williams’ minimalism as a producer to offset his own maximalist tendencies, resulting in a dreamy and heady collection. This isn’t exactly the most memorable of the Beck ’s albums I know. It’s not at the level of Odelay or Colours. But there’s something satisfying about each cut. Of particular note are “Stratosphere,” “Uneventful Days” and “Chemical.” 

Pigeonhole: Synth-pop, alt-rock


It took some time to get into Ray LaMontagne’s 2014 album Supernova. It opens with the wispy “Lavender,” inducing a trance perfect for the next cut, “Airwaves,” which moves at Jack Johnson pace. And only then does LaMontagne lift the roof off with “She’s the One.” From there, the album just blossoms for me. “Pick Up a Gun” has all the suspense of a Raymond Chandler noir. “I love you, you don’t love me.”I mean how’s it all going to end up? (Spoiler alert: he doesn’t say). Then the rocker “Julia” seems like a modern day answer to “Gloria.” But my favorite has to be “Ojai,” which is kind of the perfect Ray LaMontagne song. “Smashing” left me kinda flat. Overall, exceptional.

Pigeonhole: Folk rock, psychedelic rock


Absolutely fascinating find. The late Pauline Oliveros was a composer and pioneer of experimental and electronic art music. Her album Deep Listening (1989) was recorded in a cistern fourteen-feet underground that once held two million gallons of water. The cavernous space creates a 45-second reverb, the end result being an absolutely haunting and surreal mix of sound and texture. Oliveros described deep listening as “a practice that is intended to heighten and expand consciousness of sound in as many dimensions of awareness and attentional dynamics as humanly possible.” She collaborated with trombonist Stuart Dempster and vocalist Panaiotis on this improvisational collection. Deep Listening has been coupled with cuts from Oliveros’ 1991 follow-up album, The Ready Made Boomerang, and has just been released as a two-album set (although not yet available on Spotify). A word of caution: In these dark, quarantine days that can feel like the end of times, this album may induce more depression than it alleviates. If there was ever a soundtrack to a scorched earth pandemic, this could be it. 

Pigeonhole: Experimental, electronic art


Before today I couldn’t have told you the difference between The War On Drugs and TV On The Radio, two bands I’ve known of for years but (thanks, I guess, to dyslexia) always mixed up. Now that I’ve listened to both their 2014 albums, I understand the vast differences. For starters, there are five main members of TOTR on Seeds (2014) while TWOD is basically one guy (Adam Granduciel; more on him in the next post). TOTR offers the more instrumentally robust of these albums, the particular standouts being “Ride,” “Could You” and the beautifully manic “Lazerray.” Seeds was kind of a tribute to their bassist Gerard Smith who died of lung cancer at thirty-six years old. This record is definitely on my list for 2014 bests.

Pigeonhole: Art rock, indie rock


Even though it was released in 2014, Lost In The Dream by The War on Drugs seems pertinent during Covid19 “lockdown.” It feels like music made in a state of depression, which in fact it was. Adam Granduciel, who is essentially The War On Drugs, battled some demons during the making of this album, which kept him in seclusion for days. He’s a one-man show, credited with about a dozen different instruments and synths. There are dark cuts (“Disappearing,” “Suffering”) which are severely hypnotic while somehow maintaining a soothing quality. This third album from TWOD is meticulously crafted, with Granduciel giving each song plenty of space to blossom.  

Pigeonhole: Indie rock, neo-psychedelia 


The Main Thing is the fifth album from the New Jersey band Real Estate and, when it was released in 2014, was considered their most mature collection. But the quality seems to drift off the longer the album goes on, and it goes on a bit too long. Nice harmonies “Falling Down.” “Paper Cut” about being stuck in a rut, is a nice jangly pop tune. Worth a listen.

Piegeonhole: Indi rock, jangle pop, dream pop


My top albums from 2015 list is up and ready for public scrutiny. I’ll mention the last album I heard before finishing the list, Get to Heaven by English frenetic art-pop group Everything, Everything, whose sound has been compared to a riot in a melody factory. Read a reference to the band as “math rock.” Wikipedia: “math rock is characterized by complex, atypical rhythmic structures, counterpoint, odd time signatures, angular melodies, and extended, often dissonant, chords.” Bottom line, there’s some great sound here, albeit a little scattershot. This album didn’t end up making my list, although it’s interesting enough to get honorable mention. 

Pigeonhole: Art pop, indie rock, electronica 


Noticed Bob Schneider was participating in the ACL Stands With Austin fundraiser to support bar and restaurant workers during the worldwide shutdown over Conva19. I’ve followed Schneider for years and seen him numerous times live.  He’s without question one of my favorite songwriters/performers. I’d never really sunk my teeth into his 2013 album Burden of Proof until now. As usual, it doesn’t disappoint. There are numerous songs that meet his always high-level of marksmanship, but ’m not a fan of the entire collection. The lead track “Digging for Icicles” is a Leonard Cohen imitation that doesn’t work for me. I wish he’d ended the album with a sweet little ditty he’s so capable of writing, rather than a cover of “Tomorrow” from Annie. But I quibble.  

Pigeonhole: Indie rock, singer/songwriter


Danielle Balbuena (aka 070 Shake) has dropped her debut full-length album and it’s deep with incredible soundShe broke out in 2018 with collaborations with Kanye West (“Ghost Town” and “Violent Crimes”) and Pusha T. The number 070 references the zip code where Shake was raised in North Bergen, New Jersey, which she says was full of “kids on drugs.” Her Dominican mother told her she’d rather Shake be in jail than be gay (which she is). It was in this environment that Shake began creating poetry and raps. On Modus Vivendi (Latin for “way of life”), it’s her deep, raspy vocals that really make these songs pop. There is clear rap influence (“The Pines”) but 070 Shake mixes things up a lot. “Guilty Conscience,” one of her top tunes on the streaming service, is basically pop. “Rocketship,” with great beats and vocal effects, is the highlight. From her previous releases, “Honey” is powerful and infectious, featuring vocals from Ralphy River and Hack & Tree.

Footnote: This blog is intended to be exclusively about music. But the daily diary format makes it almost impossible to ignore major current events. Today is Day 1 of the Coronavirus Quarantine here in Los Angeles, so it should be easier than ever to remain dedicated to Music4Sativa, a blog I started as a distraction from the chaos in the world. And that was before the pandemic. Let’s all stay healthy and listen to more music! 

Pigeonhole: Emo Rap,


The Chicago Transit Authority wasn’t exactly an instant success. Their self-titled debut in 1968 was competing with an already established experimental jazz-rock fusion ensemble called Blood, Sweat and Tears (“Spinning Wheel” and “You’ve Made Me So Very Happy”).  It took two years for the band eventually known simply as Chicago to chart with the single “Beginnings” from that debut album. Chicago got more attention after their second album (1971) with the singles “Make Me Smile” and “25 or 6 to 4,” and suddenly the popularity of that two-year-old debut started to rise. It would remain on the charts for 171 consecutive weeks (a record at the time), and be considered Chicago’s best overall record. I’d heard many of these songs before, but several were new to me. An hour and fifteen minutes long, most songs are drawn out explosions of sound coupled with some of the greatest horn work in rock history.  In addition to the aformentioned “Beginnings,” there are two other cuts here “I’m a Man” and “Does Anybody Really Know What Time It Is” that are very familiar to people of a certain age and are still a treat to hear. Parts of this record, however, earn respect based solely on historic value and not because they hold up to modern eardrums. “Liberation” gets a little out of hand, I mean if a fifteen-minute song can get out of hand. Terry Kath’s guitar solo is almost insufferable, as he is also on “Free Form Guitar.” But these are old school guitar solos, the ones that go on minute after minute after minute with no end in sight. Spent a couple hours coursing through the Chicago catalogue and have to say, I haven’t given Chicago sufficient credit over the years. They were at times absolutely amazing, and other times unlistenable. Through the years they became over produced and poppy, like “You’re the Inspiration,” “If You Leave Me Now,” “Hard to Say I’m Sorry” and “Call On Me,” all of which are pretty awful. It’s hard to believe it’s the same band, and in some cases because of personnel changes, it really wasn’t. 

Pigeonhole: Jazz rock, pop rock


Ego Death was the third album from funk R&B group The Internet and was nominated for a Grammy for Best Urban Contemporary Album in 2015. Lead by songwriter and vocalist Syd Bennet, The Internet draws musical influence from many sources and brings it all together for a truly unique sound. “Special Affair,” “Go With It” and “Girl” are standouts. Jannelle Monae and Tyler, The Creator make appearances. 

Pigeonhole: R&B, jazz hip hop, funk, electronic


Yesterday Alec Benjamin and today Lauv? I must be channeling a prepubescent schoolgirl. But I’ll admit it. I think both these artists are seriously talented. Lauv’s debut dropped last week and the entire hour of it is quite good. K-pop boy band BTS appears on “Who,” so the target market is clearly young and mostly female. These are all solid compositions; there are numerous sweet spots (“Who” isn’t one of them). But “Sweatpants” definitely is, as is “Mean It” and “I’m So Tired.”

Pigeonhole: Electropop 


Until today I was familiar with only a couple Alec Benjamin songs (“Jesus in LA,” and “Let Me Down Slowly”) but took a listen to Narrated For You (2017) and found him to be an incredible vocalist who reminds me at times of Jason Mraz. Even songs about school-boy crushes (“Annabelle’s Homework”) seem mature on a certain level. “Doesn’t matter how many papers I write/End of the equation won’t be you and I/Now I’m just another who got hurt/Doin’ Anabelle’s homework.” Before he was signed to his current record contract the Phoenix-raised Benjamin tried everything to get noticed, including playing his songs on guitar in the parking lots of Shawn Mendes and Troye Sivan concerts. His new EP, The Book of You and I is another special collection of songs. It’s all a little bubble gummy at times, but that’s what you have to expect with sweet songs about young love. (Highlights: “Oh My God”). 

Pigeonhole: Pop, indie


Not that I was planning on attending Coachella, but a band I would not have missed is English EDM duo Disclosure. The Grammy-nominated Caracal from 2015 was a phenomenal album that featured a bunch of guest talent, like Sam SmithLorde and The Weekend. Now, brothers Guy and Howard Lawrence are back with another great single, the pulsating house track “Ecstasy.” It completes an EP of songs previously released as singles, all five of which are worth a listen. “Tondo” and “Etran” both employ nice African beats while “Expressing What Matters” is a clever rework of Boz Scaggs’s “Lowdown,” utilizing large portions of the original song. 

Pigeonhole: EDM, house, dubstep


The fallout from coronavirus continued today as both Coachella and Stagecoach were postponed until the Fall. Took a listen to several of acts that had been scheduled for Stagecoach and found the vast majority of them way too commercial and polished for my taste in country. Midland is an exception. I was familiar with their fantastic 2017 debut On the Rocks, but took a pass through last year’s Live From The Palomino. They clearly put on a great show (although the mix on this live album leaves much to be desired). Lead singer Mark Wystrach has a great country voice and their sound has been compared to legendary George Strait. They hit all the classic country themes (i.e. “Drinking Problem” and “Cheating By The Rules”).

Pigeonhole: Country


The mother of all music conferences, South by Southwest, has been cancelled due to the coronavirus situation. Not that I’m personally affected. I attended some of the first SXSWs in the early Nineties, but it’s grown into something beyond my needs as a music fan. Curious to hear what I (and now everyone else) will be missing, I gave a listen to many of the bands scheduled and found the answer to be: not much. Incredibly, more than two THOUSAND bands had showcases scheduled. The official SXSW 2020 playlist on Spotify consists of thirteen hundred songs over eighty-three hours! With the help of shuffle play and the fast forward button, I jumped in and waited to be impressed. It was a long wait. Apparently the main qualification to be awarded a showcase is fogging a mirror. I found a couple worthy of note, including Bay-are indie pop collective Peach Tree Rascals, Nashville singer/songwriter Myylo and blues-rock guitarist Patrick Sweany. But my favorite (after more than two hours of sifting) was Sarah Shook & The Disarmers.  Shook’s gritty vocals coupled with solid songwriting put this band on the map in 2015 with the album Sidelong, which earned them the label of country punk. A review in LouderThanWar said it this way: “These are songs for a community of lost souls, misfits, giving praise to misery and one finger to loneliness.” The song “Fuck Up” shows Shook at her most raw: “It’s hard to wake up in the mornin’ when I just crawled into bed/With bad memories and alcohol swimming in my head/My mama used to tell me to buck up/I guess I’m just too much of a fuck up.

Pigeonhole: Country punk, singer/songwriter


If you search the name Daniele Baldelli on Wikipedia you won’t find anything. Instead you’ll be redirected to the page for “Afro/cosmic music” because Baldelli is considered the creator of this synth-heavy, African influenced dance music genre. I’ll let Wiki describe: “A freeform mixing style that allows for short hip-hop … as well as long, beat-matched segues; it sometimes incorporates added percussion and effects; and it permits major speed variations to force songs into a 90-110 beats per minute range.” Baldelli has been DJing in Europe since the Seventies but he’s far from washed up. There’s so much to like on his 2015 album Cosmic Drag, that is obviously retro at times and yet refreshingly new. It made a couple best of lists that year, and may make mine. There are four songs on this instrumental collection with the word “cosmic” in the title, so I guess Baldelli is trying to tell us something. It gets a little weak towards the end but the vast majority of it is fun, compelling and at times, cosmic, I guess.

Pigeonhole: Cosmo-disco, Afro-disco, synth


There’s not much left of the original Electric Light Orchestra, in fact the 2015 album Alone in the Universe finds front man Jeff Lynne the only remaining member to appear. But really Lynne was and still is ELO. He handles most of the instrumentation here, with wonderful results. This incarnation of the band is officially known as Jeff Lynne’s ELO, to differentiate it from the tribute and imitation bands in circulation. This is ELO’s thirteenth album and Lynne’s voice, sixty-seven years old and counting, is unencumbered by the years. When the original band disbanded in 1986, Lynne became highly sought-after as a producer and worked for the likes of Tom Petty, George Harrison and Roy Orbison. He produces here on this disc, as well.  

Pigeonhole: Pop-rock


Big Gigantic out of Boulder, Colo., has released their seventh album, Free Your Mind, which builds on my already warm and fuzzy feelings about them. Saxophonist Dominic Lalli and drummer Jeremy Salken are joined by a slew of talented vocalists for this celebration of self-love and humanism.  The title track (featuring vocalist and trumpeter Jennifer Hartswick) launches this solid collection of which the highlights are numerous (“Where I Wanna Be,” “Baad,” “Let The Speakers Blow,” “Burning Love”). My favorite might be the hot dance song “Higher.” They’re currently on tour with a 3D stage show (glasses provided) that’s part movie part concert. 

Pigeonhole: EDM


I made it sixty-one days, blogging every day about new music that found its way to my ears. But the streak ends there, thanks to a hectic work schedule that consumed the better part of four days. I believe I’m back on track, but only time will tell. To fill the gap in the MarchPosts playlist, I’ve uploaded four songs from my 2019 Best Of list: “Castaway” from Yuna, “Living Mirage” by Head and the Heart and “Up All Night” by Sault.


For my money, Rufus Wainwright hits more than he misses, although I understand his nasally vocals aren’t everyone’s cup of tea. His last great album (my opinion) was Release the Stars (2007), so there’s great anticipation for Unfollow the Rules,due out next month. In the meantime, the second single  (“Damsel In Distress”) was just released and it finds Wainwright as vocally impassioned as ever. Coupled with “Trouble In Paradise” (released last October), these teasers portend good things to come.  

Pigeonhole: Baroque Pop, operatic pop