1974. The Turkish title translates to “Electronic Ballads”, but should have been something more like “ripper freakers”.

Erkin Koray – Türkü


Through bragging, a lot of early-day American heroes sprang up. Paul Bunyan, Pecos Bill, all those mythic guys emerged from the fantastic “tall tales,” mostly based on macho bravado and superhuman strength. Pecos Bill dug the Rio Grande with his bare hands. Paul Bunyan uprooted mighty trees and drank whole lakes in a single sitting. But these guys were totally fictitious. Then there were the real live ones like Jesse James, Billy the Kid, Mickey Free, Buffalo Bill. Tales grew around them mostly out of a giant communications gap between the stolid intellectual East Coast and the wide-open mysteries of the West. The East was intrigued and curious about all these dudes, and the West was more than willing to supply them with all the fancy embroidered “facts” of their heroism. So, even though they were real guys involved in a real environment, their deeds were largely invented to satisfy this growing hunger and intrigue from the opposite coast. That hunger never left us. Even now, when communications are almost down to teleportation of brain signals, there’s still an emotional space in us that needs filling. And it’s the same as it was then. It doesn’t matter if the information on our heroes is completely made up, we still want to believe it. Even with the advent of ‘demystification,’ we get stoned out on the gyrations of a few individuals. Somebody ‘out there’ is actually doing what cries out in us to be done. Something somehow that we know is in us, but it’s not us that’s doing it. It’s a hero. It’s not a hero. It’s just a guy or a girl or somebody. But it’s them and not us. It’s them performing an act that’s totally together. We feel the same act in us but it’s dormant. It’s lying around and undeveloped. So we’re all applauding ourselves in what it comes down to. “There is is! up there! The whole of mankind in one single act!” And he’s doing it. He’s getting it on for all of us. And he’s doing it better than anybody. There’s nobody who can touch him in this particular sphere. It’s not worship exactly, it’s revelation. It’s like watching Wilt Chamberlain stuff basketballs in the hoop like he’s packing a lunch. It’s almost out of the realm of possibility, but he’s actually doing it. — Sam Shepard, The Rolling Thunder Logbook 1974

TerrorsIf avoiding the spotlight were an artform, Baltimore’s Elijah Forrest, who performs as Terrors, is expert in its craft. His recordings are spread throughout limited edition split cassette tape releases, usually with strange phonetic titles difficult to define or comprehend. And in terms of priorities, his heart seems more invested in his other project, Lolly Gesserit (he even recommends this project in the Ensorcell Qori liner notes). But while Gesserit is more a dissonant, droning kind of thing, Terrors could be described more simply as ethereal, not unlike the lo-fi tape hiss of Dirty Beaches layered with the ambiance of Grouper. And where Terrors first album, Lagan Qord, is a fine effort itself, Ensorcell Qori is a more focused affair heavier on fully formed songs than meandering instrumentals. 

“All this living must be leading somewhere”, Forrest repeats in two different instances. Let’s hope it leads to more Terrors music in the future. words / zb

Terrors :: Wilder Freer


Folk / glitter / spaceman / plastic soul / mainstream pop icon and beyond, David Bowie transcended – no matter the genre or medium. The following collage is comprised of an hour’s worth of oddities and curios spanning a half century, unwashed and somewhat slightly dazed.

Unwashed And Somewhat Slightly Dazed / 1966-2016

THEOREME_L'appel du Midi à midi pile

Transmitting to us via Paris is the one-woman band Théorème. Imagine 60s Yé-yé cryogenically frozen, thawed into 80s industrial no-wave, frosted again, and now set loose into the wild as something wholly new. This is some shit to get on terms with. Her debut lp, L’appel Du Midi à Midi Pile, was released late last year via Bruit Direct Disques, and needs to be heard to be believed. words / c depasquale


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 489: Jean Michel Bernard – Générique Stephane ++ Brian Eno – No One Receiving ++ Talking Heads – I Zimbra ++ Arthur Russell – Make 1, 2 ++ 6ix – I’m Just Like You ++ Can – Vernal Equinox ++ Placebo – Balek ++ Tom Tom Club – L’Éléphant ++ Brenda Ray / Jingo – Keep Holding On ++ Dwight Sykes – Bye  ++ Johnny Walker – Love Vibrator ++ William Onyeabor – Better Change Your Mind ++ Talking Heads – Born Under Punches (The Heat Goes On) ++ Chariot Riders – Do It Nice & Easy ++ Ofo & The Black Company – Allah Wakbar ++ Talking Heads – Fela’s Riff (Unfinished Outtake) ++ Fela Kuti – My Lady Frustration ++ Fela Kuti – Lover ++ Fela Kuti – This Is Sad ++ Ty Segall – Music For A Film 1 ++ Joni Mitchell – The Jungle Line ++ Faust – It’s A Rainy Day, Sunshine Girl ++ White Denim – Light Light Light ++ Ramases – Dying Swan Year 2000 ++ Cate Le Bon – Rock Pool ++ White Fence – King of The Decade ++ Jack Name – New Guitars ++ T. Rex – Pain And Love ++ Thee Oh Sees – Web ++ Rob Jo Star Band – I Call On One’s Muse ++ Bitchin Bajas – Bajas Ragas (outro music)

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


Michael Nau’s latest long player, Some Twist, finds the Maryland native following the breezy, off-kilter charm of last year’s Mowing, his solo debut. And that is to say it’s great. Album opener “Good Thing” bursts with the gleaming originality that has come to define Nau and his wife Whitney McGraw’s collective work as Cotton Jones, namely the albums Paranoid Cocoon and Tall Hours in the Glowstream. Gentle flourishes of piano, guitar, and pedal steel accompany Nau’s lonesome porch lament on “Wonder”, while the grooving gospel glow of “Light That Ever” beautifully captures the unique and imaginative world that is the record as a whole.

Michael Nau :: Oh, You Wanna Bet

Some Twist is also notable for some new and rewarding creative directions. “Scumways” finds Nau exploring new wave yacht-rock, while “Scutter” oozes with slinky bedroom-pop funk in a way that only he could do it. “The Load” chugs mightily with a JJ Cale-tinted swamp groove and free-jazz sax freakout. However, the record’s finest moment comes back down to the honeysuckle charm that exists at the album’s core – the great bounty of which lives within “Oh, You Wanna Bet?” (noticeably the only song on the album to prominently feature McGraw). Sitting right in the record’s center it possesses a timeless, almost just-out-of-reach feeling that shines on so many of their greatest works (“Cotton & Velvet,” “Glorylight and Christie,” “Wax Hand Asleep In A Glove” among them). Here is a homey sweetness that isn’t afraid to peer beyond the frontier, nor take its time doing so. Amongst washes of piano, reverb and lonesome, faraway harmonica, the duo profess patient, profound truths, bringing with them the elements of water, time, questions, and an acceptance in the absence of answers to those questions. Always personified, always along for the journey. words / c depasquale

Related: The Lagniappe Sessions: Michael Nau