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There are few constants out there in this big, bad world; few things one can always count on. But check it out, Endless Boogie is one of them. Helmed by Paul “Top Dollar” Major, the band’s next lp, Vibe Killer, is out May 19th via No Quarter Records. To commemorate the event, I asked sometime member, guitarist, and super-fan Matt Sweeney to proselytize, below.

Endless Boogie is the band you always wanted to hear. The first time I saw them play all these thoughts shot through my head at the same time — “OK that guitar player looks wilder than anyone I’ve ever seen/That is the rudest riff I’ve ever heard/Why didn’t I think of that riff/I would never dare think of that riff/ I could watch guy play that lead forever/Chuck Berry and John Coltrane/That beat is perfect NEU!/ Am I really hearing and seeing this??/Are they really doing this??” — for like an hour, and it was one song.

And with that, for your daily dose of bad vibes, switch off the news and dig into the title track…

Endless Boogie :: Vibe Killer

Previously: Endless Boogie :: Long Island


“This is the story of three Texas boys, busy mindin’ their own bidnis when the Angel of the Lord appeared to them saying, ‘When the Winston Churchills start firin’ their Winston rifles into the sky from the Lone Star State, drinkin’ their Lone Star Beer, and smokin’ their Winston cigarettes, know the time is drawin’ nigh, when the Son shall be lifted on high.'”

So begins Lift to Experience’s The Texas-Jerusalem Crossroads, the best Texas psychedelic, post-rock, shoegaze LP of 2001, a distorted eschatological blur of Leslie speaker-spinning guitar, cavernous drums, and leaden bass. Fronted by guitarist/singer Joshua T. Pearson, Lift to Experience was rooted in Old Testament awe and the churning swirl of My Bloody Valentine and Ride, but driven by the same dusty wildness that drove their countrymen in the 13th Floor Elevators and the Moving Sidewalks.

The record inspired fervent devotion among those (scant few) who heard it, but shortly after its release the band dissolved. Pearson took to writing country songs; Josh “The Bear” Browning formed Year of the Bear; Andy “The Boy” Young formed Western Arms with Guy Garvey of Elbow. The Texas-Jerusalem Crossroads — which should have been lauded among Source Tags and Codes and Relationship of Command as one of the great Texas rock albums of the early 2000s — mostly faded from conversation.

But nothing so weird or special goes unnoticed forever: last month, the album was reissued in expanded and remastered form by Mute Records, bearing reconfigured cover art that pays tribute to the Pen & Pixel design firm, known chiefly for its work for No Limit and Cash Money. And while the new mix clarifies things sonically, it’s clear listening to the new edition of the album that its chief strength was and remains an abiding and terrified reverence for the God of Abraham.

Lift to Experience :: Falling From Cloud 9 (EP Version)

“That was a throwback to growing up in a deeply religious tradition,” Pearson says from Dallas, his drawl thick and voice slightly sluggish after too much whiskey the night before, a fact he offers up freely and without prodding. Raised Pentecostal, Pearson and his family spent Sunday mornings “getting to the other side, you know?” But at the dawn of the second Bush era and the burgeoning War on Terror, religious leanings were not in vogue among indie rock circles, no matter how violent or powerful your sound.

“If you grew up with that tradition, if you were even remotely sympathetic to it, people kind of, for a lack of a better word, crucified you for it,” Pearson says. “You know, if the indie rock press categorized you as having those kind of sympathies at all, you were kind of blacklisted.”


Back in 2013, our friends at Flannelgraph Records hipped us to the synth pop sound of Don Muro when they reissued his 1977 LP It’s Time. Since then, Flannelgraph has kept at it regarding Muro, following up with Souffrances et Extases du Jeune Amour in 2014, which featured previously unreleased material recorded between 1969-1974, and We All Need Each Other: The 1968-69 Recordings and the As Long As I’ve Got You EP in 2015. But there appears to be plenty more worth hearing in Muro’s vault, as the label’s just released another great collection, Synthesizer Pop for a New Age (1974​-​1978).

“For some reason I never considered the synthesizer as having an outsider quality. I have always loved the sounds of oscillators and feedback,” Muro said when we spoke with him in 2013, and the new collection showcase that love for synth. The album can be split roughly down the middle. The first half features gentle pop rock, the second veers more ambient, tilting toward new age sounds.

It’s another winner from the Flannelgraph crew, and as comedian Mary Houlihan states it, the record’s applicable for just about every situation. “Don Muro is the perfect music for any occasion: bike riding, dancing, playing video games, kissing your crush, chilling out, going hard, exploring your mind, hiking a mountain, boating, petting wild animals, tightrope walking, walking around a new city, highway driving, enjoying folk art, trying on cute outfits, putting on rouge, sipping an elixir, jump roping, making love, going up to a long window curtain and rolling your body up in it like a little blintz, finding a magic egg…” Here here. words / j woodbury

Don Muro :: Dakota Burial Ground


Children’s programming just doesn’t seem to teach the kids how to do the important things in life anymore. You know, like make steel drums. But that wasn’t always the case! Dig the bygone era of funky 70s and 80s public broadcasting. Specifically, the halcyon days of Sesame Street.

Strong on execution, following an exercise on how to make a drum from a barrel, we then join the gang in medias res as they take the sounds to the beach – “hey kids, you feel the rhythm? you know there’s rhythm all around us – the waves breaking rhythm, people walking rhythm, people breathing rhythm, too.” Preach.


Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday – Noon EST with an encore broadcast at Midnight EST.

SIRIUS 472: Jean Michel Bernard – Générique Stephane ++ Ryo Kawasaki – Raisins ++ Herbie Hancock – The Twilight Clone ++ James Mason – Sweet Power of Your Embrace ++ Talking Heads – Double Groove (Outtake) ++ CAN – I Want More ++ The Headhunters – If You’ve Got It, You’ll Get It (AD edit) ++ CAN – All Gates Open ++ Cate Le Bon – Rock Pool ++ Abadane – Freedom (Hourya) ++ Lucio Battisti – Dio Mio No ++ Faust – It’s A Bit of A Pain ++ Kraftwerk – Transistor ++ Trinidad And Tabago Steel All Stars – Do Your Thing ++ The Invaders – Spacing Out ++ Bobby Moore & The Rhythm Aces – Groovin’ with the Aces ++ Dwight Sykes – In The Life Zone ++ Arica – I Am The Center ++ Neil Ardley – Leap In The Dark ++ CAN – Babylonian Pearl ++ DJ Shadow – Mutual Slump (AD edit) ++ Funkadelic – I Wanna Know If It’s Good To You? ++ Hermanos Calatrava – Space Oddity ++ Nina Simone – Be My Husband ++ Henri Salvador – Pauvre Jesus-Christ ++ 6six – I’m Just Like You ++ Idris Muhammad – Loran’s Dance ++ Henri Texier – Les là-bas ++ Dorothy Ashby – Soul Vibrations ++ Shintaro Sakamoto – Mask On Mask ++ Georges Happi – Hello Friends ++ Faust – It’s A Rainy Day, Sunshine Girl (AD edit) ++ Radio Commercial / Remain in Light ++ Talking Heads – Fela’s Riff (Unfinished Outtake) ++ Talking Heads – Born Under Punches (The Heat Goes On) ++ Bobby Hutcherson – NTU

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.


Visiting Tokyo in 2003, Pharoah Sanders sat in with local spiritual jazzists Sleepwalker at a club gig laying down what would become “The Voyage”. Released the following year as a Japanese-only import single, the track later served as the cornerstone and title track of Sleepwalker’s third LP. Taste, below.

Sleepwalker/Pharoah Sanders :: The Voyage


Our guest mixtape series returns with the fourth offering via our east coast compatriots, NYC’s Chances With Wolves: Penguin Dust – A Mixtape. As always, it’s a heady/essential brew.

Chances With Wolves 4 / Penguin Dust – A Mixtape

Records are magic. Some of them cast different sorts of spells from others but all of them contain some amount of encapsulated air from the rooms they were recorded in. They become little vessels for cultural information. Penguin dust. We wanted a place to put some of these magic vessels on display — a place they could live and be popped open like corked bottles so their stored atmospheric magic dust could breathe again.