You can’t get to know a place without knowing what the folks in town listen to. The best way to do that is to keep your eye out for gig flyers. In all likelihood, the shows have already taken place. Still, what you’re left with is, at best, a testimony to local music, at worst, the work of an overzealous label intern. (More…)

When word started spreading about Wugazi, the excitement in social media circles was palpable. To those long familiar with mash-ups, myself included, this came as a surprise. It has been eight years, after all, since Danger Mouse released the form’s first widely discussed masterwork The Gray Album, an astonishingly vital fusion of The Beatles’ double-LP colloquially referred to as the “white album”, and Jay-Z’s The Black Album. (More…)

“Two great tastes, one great flavor,” joked my boss, as we overheard the strains of a booty jam sampling a piece of 1950s Arab orchestral music. Sitting in his car on the way to a recording session, we turned the volume up. Nodding his head in approval at the mix of squishy beats and vintage strings, he declared, “It’s so fucking obvious! Byrne and Eno were doing this twenty years ago.” Well, not exactly. But he was close. (More…)

Hospital waiting rooms are a horrid place. You’re either about to be diagnosed with something awful, or in love with someone who is. My San Francisco hospital, in its boundless touchy-feeliness, commissioned a harp player to set up next to us and play harp arrangements of Debussy and other typically floral-sounding songs. (More…)

Although studded with moments of hectic musical convergence, Kutmah’s The New Error is bookended by passages in which propulsion takes a back seat. On the opening track, a string motif of Middle Eastern provenance twines amid meandering piano chords as Doom articulates a dream of irony-free positivity. Yet the hiss and crackle that suffuse the proceedings keep them at a distance. (More…)