Yes, summer has come and gone for the most part, but leave it to Moon Glyph to roll with the seasons on Is/Is’s autumnal Shadow Days tape. The duo of Sarah Rose and Sarah Nienaber, originally from Minneapolis but now residing in Portland, OR, craft skeletal psych-rock jams reminiscent of Moon Glyph’s other acid-fried rocker, Dead Luke. The two Sarahs have a way with hypnotic, burned out songs that makes “Palmers” stand out among the rest. It has an expansive yet intimate feel that brings you in and leaves you wanting more; thankfully, Moon Glyph has a few other samples of the tape on their SoundCloud, and Shadow Days is available for purchase.

• Moon Glyph:
• Is/Is:

Buck Gooter

“No one owns the sky”

The starkness of Buck Gooter’s music is what brings the minimal brutality of “No one owns the sky.” It’s rooted, but not roots-heavy. Fucking existentially blues’d out too. Everything from the internal is rotten, but still breathing. Bellows from the acid of an empty stomach. The hum of every swan-songed echo that’s come back around for revenge. Each piece of the drum-set being played, one-at-a-time. The tension it taught. Ownership is of Guthrie-level warranting, only the sky ain’t the limit. So who better to protect Buck Gooter’s space is some cosmic HENCH that went to the corner-store, snagged a couple Ultraman masks, and started struttin’ the clouds. Make sense? Fuck yeah, it does!

“No one owns the sky” is taken from Buck Gooter’s newest album The Spider’s Eyes available soon on the illustrious Feeding Tube Records and Sophomore Lounge Records. And I’m thinking this release will be as raw as what both labels usually bring, with an excellent combination of Sophomore Lounge’s gruffer sounds and Feeding Tube’s storyteller aspects. Get jacked and be on the look out for these two sky-dudes below on your next flight outta town:

• Buck Gooter:
• Sophomore Lounge Records:
• Feeding Tube Records:

Andrew Weathers

One Day We’ll Find The Valley

I’m fairly convinced that early folk/americana and experimental music as a whole are in many ways inextricably connected. The connections between these worlds aren’t always obvious but the implicit concerns of both genres seemed very tied together. Out of all roots music, Sacred Harp singing seems like one of the most connected to current experimental practices due to its elasticity of form, notation, and performance practice. This is music designed to be non-virtuosic and its use of shape note singing coupled with the lack of a conventional leader/conductor puts all performers on equal footing much in the same manner as a John Cage composition. Furthermore, this relativity of pitch/rhythm in sets up a proto-graphic score type of scenario for the performers. Finally, the desire for sacred harp singing to be a participatory/immersive experience (listeners are invited to perform despite lack of experience in order to create an immersive absorbing sound mass) is in line with the thoughts of numerous sound installations and the performance practices of artists like Tim Hecker and even Sunn 0)). Therefore, it’s easy to see how Sacred Harp music is ripe for experimentation and manipulation due to it’s sound immersion and the elasticity and openness of form it allows performers.

On One Day We’ll Find The Valley, Andrew Weathers does an excellent job lovingly deconstructing and transforming six Sacred Harp hymns into something completely new. Weathers clearly understands the implicit openness embedded in this music and uses it as a transformative mechanism for each piece here. Opener “We Will Sing With The Angels” filters the hymn through layers of digital distortion and processing while “To Die No More” revisions the song as something that resembles Mark Kozelek collaborating with Fennesz. Elsewhere, “Save, Lord, or We Perish” reduces the original melody to a mix of American primitive guitar and burbling synth and “We’ll Meet Beyond the Grave” stretches out into sustained oblivion. Despite the eclecticism of each piece here, the hymns retain tonal qualities that are undeniably in line with the original Sacred Harp songs. This is due to Weather’s clear respect for the original material and seemingly his decision to treat the original scores as a sort of aleatoric notation of sorts. One Day We’ll Find The Valley is a wonderful illustration of the sometimes overlooked connections between Old Weird America and the new.

One Day We’ll Find The Valley is available now via Life Like Family. You can stream the album in its entirety below:

• Andrew Weathers:
• Life Like Family:

Kid Millions & Jim Sauter


Sustain is endless in the transfer of energy. In this case, the energy is high, as mandated by tradition. In Sauter’s hands, the energy is amplified. His reedplay is pushed through red spit and filters, then misidentified as it morphs into strings: a guitar – pause – a viola. Meanwhile, splitting his fully developed limbs left and right, quickly, simultaneously, Millions persists. He wards off the antibodies. He resists the silence found in blots of dynamics. Stamina is the secret word.

• Kid Millions:
• Borbetomagus:
• Family Vineyard:

Various Artists: BBC

“God Only Knows”

[0:18] Sick! Probably the most dissonant BBC has ever gotten.
[0:21] Oh, it was this fuccboi conductor who interfered.
[0:28] How is anyone supposed to read their sheet music in this lighting?
[0:32] Here, as before, all orchestra parts appear to correspond precisely to their race/gender stereotypes.
[0:44] How did Elton attract all these butterflies? Did he coat his blazer in honey??? Some Alexander McQueen shit!
[0:46] Lorde’s vocal style – a ’10s trend for which there is as yet no term – really grates on me. Like her voice is “good,” clearly, but she’s sort of bending it to fit into this weird mold with all these specific ways of pronouncing the words, sounding seductively hoarse at just the “right” moment, and filling it out at other moments, just like the vocal instructor said to do.
[0:50] A few weeks ago I saw a headline in the New York Post referencing “J. Law Nudes” which had surfaced. For days, I walked around thinking there were nudes of Jude Law that had somehow gotten out, but it turns out they were of a similarly named female whose name escapes me at present.
[0:59] Finally we see Brian Wilson, who ironically (and to his credit) seems the most out of place out of anyone in this video.
[1:08] Now I’m starting to wonder how many other aspects of this video were cribbed from a Flaming Lips live set?
[1:30] This wannabe Hives member gets stuck with the “La, la, la” line.
[1:48] Another deeply disturbing trend, alt-bro vocalists who give each other exhaustively rehearsed looks while hitting a certain note or delivering a complex line. This clip should be printed, frame by frame, in the textbook that the next bunch of strapping young lads is made to read once these guys turn 30 and are replaced by the next big thing. The more conservatively dressed of the two gives the other a chummy, satisfied, look, as though he’s playing off of the other’s voice in real time. The other, shown here on our left, is more bohemian, and as such he closes his eyes immediately upon reciprocating the glance, too caught up in the moment (one line in a large-scale BBC production 60s cover) to keep them open.
[1:50] BBC gives electronic music a shout-out lasting all of one second.
[2:25] Somehow this mantra feels way more existentially bleak when Dave Grohl says it.
[2:38] Feedback rings out, in tacky contrast to the original version as well as the one just performed.
[2:42] A meaningless phrase: “FOR THE LOVE OF MUSIC,” coupled with a meaningless image (feather slowly falling on piano key).

“God Only Knows” how many millions of pounds could have been spent on feeding the hungry, better schools, homeless shelters… anything else, but this video! Oh, and BBC just began BBC Music.

• BBC Music:



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CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.