OPM: Palindromic Selection

The Vardaman Ensemble – FR FR

A dense and kaleidoscopic vision of bold rock experimentalism that seems to exist inside a madman’s head and well outside of time. That’s a good thing, by the way. This is good, old-fashioned Weirdo Rock, the kind you’d pass over in the bargain bin of Tower Records ‘cause it looked too goofy, only to end up paying $50 for a used copy three years later after you saw them open for Ween. 

Mostly instrumental, totally deranged, generally good natured and delightfully off kilter, this is the fun kind of experimental music – raw, raucous and ready to rip up the playbook and start over for every track. Get some.

(Listened to the entire album)

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Jennifer Vena Wood – I’ll Be Right Here, Too

Acoustic folk songs about the mundane wonders of human experience, realized primarily with acoustic guitar, voice and modest accompaniment. These are tales of life, love and loss: joy and sorrow at the ever-unfolding miracles and disappointments of existence. The poetry of the lyrics is grounded in simple human experience – no flowery metaphors or cryptic imagery to decode. 

Similarly, the vocals are earnest, guileless and real, as is the guitar work and arrangements. It’s just a simple, down-to-earth acoustic folk album about the vagaries of life – your appreciation is likely a direct result of how well the songs speak to you, so give it a listen to decide for yourself.

(Listened to the entire album)

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Sam Destral – Part 2

Lo-fi guitar instrumentals that straddle the gulf between post rock and ambient. There’s not all that much to these tracks – electric guitar, a decent pedalboard and maybe a looper, if I had to guess – but thanks to the dynamism and flexibility of the guitar as an instrument, there’s plenty here to chew on. 

Sheets of distortion, angular strums, uneasy dissonances, layers of diaphanous reverb and minimal riffs are the order of the day. It adds up to an uneasy and tense atmosphere at times, but that’s fine – ambient doesn’t have to be relaxing, after all. Overall, quite an interesting and distinctive take on guitar music.

(Listened to the entire album)

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Graham Irwin – Songs of Love, Lust and Loss

An album of genial neo folk takes on mostly traditional folk tunes. That is to say, the songs lean traditional, but the production and arrangements aren’t afraid to lean into synths and effects to get the job done. It’s not to say this is some kind of electro-folk hybrid – it’s not anything close to that. 

Just traditional folk balladry brought to life with a few more contemporary tools than you might be used to hearing. Still, it all hews close to what you’d expect from a collection of this kind – only with some synth drones where the hurdy gurdy or accordion might go in a traditional arrangement (but also with some of those traditional instruments!). 

(Listened to the entire album)

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PSEUDOSÉANCE – E(NV)Y

Powerful electronic rock instrumentals that forge a sort of unique niche genre of their own – call it garage beat. Or don’t, that’s just some nonsense I made up. But it does give you an idea of what to expect! Big, rock-style drums, muscular bass lines, guitar riffage, waves of fuzzy synth and organ and heavy-handed, spiraling piano lines in service of some pretty primal rock tunes. 

And it’s all done with a pretty raw, almost punk energy and approach – these are noisy, loud bangers, in other words. It’s a cool, fun, fresh take on rock that offers a fun rock alternative to one more spin thru classic rock tropes dressed up with modern production.

(Listened to the entire album)

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