As a record store named after the Arthur Russell song “A Little Lost” it’s about time we wrote a note about one of his albums. During his lifetime, very little of his music was released, but we have been extremely lucky that so much of it has been diligently restored and released widely for the first time ever in the decades following his early death. The array of genres that Arthur so fully devoted himself to exploring in his lifetime is truly staggering.
This album, “Instrumentals” is a wonderful entry point into his pre-disco contemporary classical era. Originally conceived in 1974 as a piece to be performed over a 48 hour period, it ended up being performed in parts only a handful of times. While the words “contemporary classical” might send people running in the opposite direction, these compositions contain the playfulness and bubblegum sensibilities that run throughout all of Arthur’s work. In many ways, this is not just a great entry point into his instrumental work, but also to the wider contemporary classical world. If you’re a lyric-oriented person, this isn’t the best entry point into his work, but if you’re already a fan of instrumental music then I can’t recommend this enough!
-Conor
Twerp Verse is the third studio album by American indie rock band Speedy Ortiz, released on April 27, 2018 under Carpark Records. Lead singer, frontdemon and main songwriter for the project, Sadie Dupuis, punctuates the album with sardonic wit and skillful wordplay – true staples of her songwriting. I love how her lyrics paint the personal and emotionally complex narratives of her songs vividly, juxtaposing action with emotion in an honest and engaging way.
The album is musically cohesive and dynamic, integrating gritty, garage-rock influences with leanings into pop. I love the range of synth sounds they use, inlaid around dissonant, fuzzy guitars and modal, moody melodies. Combined with standout lyrics, this album is difficult to stop listening to – and the more I listen to it, the more I like it. My favorite tracks are Lean in When I Suffer, Villain, and Alone With Girls.
Speedy Ortiz was originally a solo project for founder Sadie Dupuis, started in 2011 when Sadie moved to Northampton while pursuing her MFA in poetry. By the end of 2011 a full band incarnation formed. They have released three EPs and three LPs mostly on Carpark Records. As of 2022, the band consists of Sadie Dupuis, Audrey Zee Whitesides, Andy Molholt, and Joey Doubek.
-Abbie
The Swan Silvertones were a pop gospel group originally formed in 1938 who released dozens of records in the following decades. Having listened to some of their earlier records, I was expecting this to follow a similar formula with tight barbershop harmonies and minimal backing. However, when I dropped the needle on the title track of this 1978 release, I got one of the funkiest gospel tracks I’ve ever heard. Whoever is playing guitar on that track (since it’s impossible to find the players here) is absolutely ripping it up. As a whole, side B has more of the uptempo funky songs, while side A strays closer to their usual formula. Even if you aren’t generally a fan of gospel, if you’re at all a fan of 70’s soul, then this is an absolute gem.
-Conor
This album feels like a gem pulled from when I would stay up all night in high school digging through Bandcamp to find gems put out into the world solely because the artists recording them had to make the music. Ribbon is a Boston-based duo consisting of River Pfaff and Will McGovern - this album also features production and some beautiful cello parts by Bradley Robertson.
These songs exist on a plane of intimacy and devotion, full of snippets of memories turned universal by their specificity. I’ve been lucky enough to have Will as one of my closest friends and seeing the way they’ve grown as a songwriter - from their early days as Flossy Clouds to their current solo project Tiny Deserts - makes my heart swell with joy. The minimal production and arrangements here help to put the lyrics on full display. All I know is I’ve had the chorus of “Cut Flowers” stuck in my head ever since I first heard Ribbon play it live well over a year ago - these songs stick with you long after the album is over.
-Conor
James Brandon Lewis - Eye Of I
Despite his background of academic musical training (having earned degrees from both Howard University and Cal Arts) - James Brandon Lewis has built a career on his endless search for innovation. While solidly rooted in the jazz world, including having his 2021 album Jesup Wagon named the best album of the year by Downbeat, he is an artist unafraid to explore any genre. When making this 2023 album his creed was, “Chasing Energy. Above all else.” And he absolutely succeeded in his mission.
This is jazz with a punk ethos - there’s a reason that he is now a member of The Messthetics (which features 2/3rds of legendary post-punk band Fugazi). There is also a focus to these tracks - while there are certainly free-jazz sections in these compositions that dive headfirst into chaos, they are balanced out by beautiful moments (see: The Blues Still Blossoms). If you are coming from the punk world and are new to jazz, it’s hard to think of a better album to start with. Or, if you like your jazz on the free side and aren’t afraid of a little skronking now and then, then be sure to add this to your collection.
-Conor
Pile - All Fiction
Pile is one of those bands that me and my friends have loved so deeply for so long that I assume everyone knows who they are. Generally though, if I bring up Pile to people in the shop, the answers are either: “Who?” or “They are the best band ever!” For the past 17 years, they’ve flown under the wider radar making some of the most gripping and unique albums of this century - all while creating die-hard fans from their endless touring and unforgettable live shows. For me, personally, I saw them at a small music shop in rural CT in 2013 on their Dripping tour and it changed my life - and I know several bands that formed around that time based solely on the “Pile is the best band” mantra. For better or worse, they are stuck with the curse of being every bands’ favorite band while never quite breaking through to a wider audience.
This album, their newest full length, is an incredible entry point if you are new to the band. It expands on Pile’s stalwart guitar-forward sound while adding electronic elements, string arrangements, and other production flourishes only revealed with careful repeated listens. As I do with every Pile album, I check in with the Pile fan club (AKA my friends) when its released. Almost every time, as is this case with this release, the answers are “I’m not sure about it yet” and then a year later “it’s their best album.” One of the things I love about them as a band is they are constantly unafraid to challenge their fanbase, always striving towards new approaches and sounds. While songs like the single “Loops” push their sound, there are still tracks like “Blood” that feel timeless to their discography. Every time I am lucky enough to dig into a new Pile release I know that it’s going to take time to reveal itself, but when it does I always end up turning the volume to deafening levels and singing along on repeat. Pile forever.
-Conor