Allá Es Tiempo
This 2007 debut from Chicago’s must-hear Allá, Es Tiempo is an inviting cocktail of Tropicalia, jazz, post-rock and dream-pop so good it might even convince you it’s summer again.
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On The Air Now:
Jocelyn Geboy
Every week we do our best to add a wide range of music to our library, from the newest local releases to lost gems from the archives. Here’s a list of what we’ve recently added.
Week of Feb 16, 2010
This 2007 debut from Chicago’s must-hear Allá, Es Tiempo is an inviting cocktail of Tropicalia, jazz, post-rock and dream-pop so good it might even convince you it’s summer again.
You may know them best from their work with The National, but Bryce Dessner and Padma Newsome have long collaborated on this other project, a sort of percussive, bang-on-a-can take on jazz, rock and contemporary classical that defies easy summarization.
The opening volley from one of indie’s most category-proof bands, Peng! introduced the world to the retro-futuristic sounds of Stereolab way back in 1992, and its effects are still being felt today.
The other man in black gets his due in this compilation of career essentials — with plenty of evidence for the uninitiated that there’s a lot more to Roy Orbison than just “Oh, Pretty Woman.”
Hailing from the American Southwest, DeVotchKa treads the intersection you never knew existed between the Mexican-American border and the Eastern Bloc on this, their third full-length.
This shimmering 2007 release from Dan Snaith’s ever-evolving Caribou is a sprawling psych-pop record for the laptop age — it’s like a Zombies record, if the Zombies had only had access to samplers.
A 2009 CD-R release from Chicago’s own Rabble Rabble, Jailbait captures the band’s trademark garage-punk-psych via the cleaner sound of the studio setting – well, maybe a little cleaner, but still plenty wild.
The definitive collection from the blues great reputed to have traded his soul away to the devil in exchange for his mesmerizing, like-no-other guitar prowess – it’s an American classic from an American legend.
Ptah might be considered the moment Alice Coltrane tapped into her full potential, utilizing Indian drone, spirital jazz, modal improvisation and melodious introspection – not to mention the talents of the singular Joe Henderson on tenor sax.
Nearly three decades later, Laurie Anderson’s avant-pop magnum opus is as deeply unsettling as ever – and lyrics like “Here come the planes / They’re American planes” only deepen the mystique of this landmark, one-of-a-kind work.
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