I’m picking up a friend at the airport tonight. They’re getting in quite late. I offered to do it for a few reasons. Firstly, they’ve been having a rough go and it’s a nice thing: to be ferried home by a familiar face after a long trip. Secondly, it’s a thing I like doing. Besides writing, one of my first gigs in the ‘music industry’ was hospitality; driving people around, delivering food and drinks and towels. Carrying bags up the steps. And generally just waiting around, hanging out. It’s a great gig. People tell me I’m comforting to be around.
I also offered to pick them up for a ridiculous reason: I’ve been absolutely failing at finding the gumption to write this newsletter. I missed June entirely. I figured if I gave myself a bunch of waking hours to fill late at night, I’d get around to it. If you’re reading this, I’ve succeeded. If you’re reading this, I’ve already been to the airport and back. Time is an accordion.
click the cover to listen or go your own way ~~
Bembeya Jazz National - The Syliphone Years (1961-1974)
I don’t want this to sound too desperate or possessive, but this music feels like an extension of my self. More than a desert island pick, it’s like a little supplement to my aura that you need to hear to fully “understand” me. So many beautiful, sunny moments of my life have been thoroughly saturated by Bembeya. You might as well unsubscribe now, it doesn’t get better than this.
Cheb Hasni - Rabi Eltof Biya (199?)
Last month, I dug deep into Bandcamp’s How MLP-Music Became the Internet’s Largest Collection of Arabic Music. This Cheb Hasni record, a scorching example of fully-digified raï music, was the lead selection from this stylistically-broad overview (for good reason: it rips). Other exciting discoveries from the article include this remarkably intense recitation of the quran and this gnarly collection of pieces from Algerian vocalist Cheikha Remitti which is [checks notes] some of the most badass music I’ve ever heard.
Deerhoof - The Runners Four (2005)
If you’ve been paying attention the last few issues, you might’ve noticed I’ve been grappling with nostalgia, with formative influence and reflexivity; trying quietly to conceptualize the bedrocks of my listening. The inclusion of The Runners Four is very much a part of this journey. I was 21 when this album dropped and it changed my brain. In December 2009, when my friends and I endeavoured to list our Top 100 albums of the aughts, this was my #1.
So when I came across a recent Life Of The Record episode that features a full two hours of the band members discussing the album, I had to dig in. It’s hard to describe the quality of delight I got upon receiving so many insights into a record I’ve spent hours upon hours listening to. And what’s more: the wild delight I had in returning to The Runners Four for the first time in about 15 years. It’s still so fucking wonderful and weird and fun, and like absolutely nothing else. All-time material, all-time band.
Iris Dement - Infamous Angel (1992)
Overdue. And I’m not exactly sure what took so long for me to fall in love with this pinnacle of country sweetness, but it’s safe to say: I’m in my Infamous Angel era and I’m LOVIIIIIIING IT 🤠
Nana Caymmi e Cesar Camargo - Voz e Suor (1983)
Shimmering, late-evening perfection from two legends of Brazilian music who go relatively unspoken-of these days. Voz e Suor features a dozen faithful duets employing nothing more than warm keys and rich vocals. This is the kind of evocative, sensual music whose effect hardly changes with volume. Whether played at a whisper or on full blast, it’s profoundly affecting. It lends life a kind of filmic grace.
ICYMI, I started a donations page. All the money I receive will go back towards music (eg. purchasing physical/digital music, merch, concert tickets, supporting other music outlets, etc.). If you’re not able to support the newsletter financially (no presh!), you might also consider liking / sharing / following on Instagram.
ALSO, I started a ~*fun*~ tracking sheet that provides transparency on donations and spending. It also includes links to my Bandcamp + Discogs profiles. This is as much about accountability as it is an experiment in tracking my own financial investments in music over a calendar year.
I’m super interested in feedback / dialogue / suggestions. If you have ideas about the newsletter, want to share music with me, have specific questions / requests, don’t hesitate to get in touch. And please: share this newsletter with a pal if you feel so inspired!
Yrs.,
Andrew P.
andrewdanielpatterson [at] gmail [dot] com
Hotter than Mohave in my heart!