Today the newsletter turns forty. This winter, it’ll be me going over that hill. Time really does fly sometimes…
I fucked off last month, didn’t write a newsletter, and spent some good time at the beach. Then I came home and it was wet and cold and grey for what felt like an eternity. That bit of heavy weather really accelerated my autumnal listening habits. As a result, this issue has a bit more of a contemplative, sweatshirt feel. Somewhat Octoberish.
In case you’ve still got some summer moxie, I’d kindly direct you to this rather fun mix I made for Dublab in August. It features “unlikely grooves, honeyed dew and various flute musics”.
Choose your adventure, make your season. And please, forgive my brevity and self-reference this month - have I become too blasé?
**important note! — I didn’t realize I’d chosen albums all within such a limited colour palette. That’s not what this is about, I swear 😬 I only realized when I loaded the artwork into Substack.
click the cover to listen or go your own way ~~
Eiko Ishibashi - Drive My Car OST (2021)
Really not sure why this took three years to click for me: it’s BEAUTIFUL. I’ve been listening to it daily, sometimes multiple times in a given afternoon. There’s a miraculous wholeness to it. It’s soft and it’s certain. It’s reassuring and it’s sad. It fills me up, it invites depth. An effortless mood enhancer.
Pastor T.L. Barrett - Like A Ship Without A Sail (1971)
Y’all might’ve heard this because Numero reissued it, or because it’s been sampled by Ye, T.I., DJ Khaled, James Blake and others. Or maybe you’re like me and you’ve just been very (very) recently introduced to it. In any case, I think you can tell from the cover exactly what you’re getting and I can tell you it’s exactly what you need, hun.
The Fourth Way - The Sun And The Moon Have Come Together (1969)
I discovered this early slab of rowdy, playful jazz fusion through a delightfully small and conceptually sound IG account called dinnertimemusic. Fusion isn’t a genre I seek out often, or even at all, but something about this album really hits. Eddie Marshall’s drumming is pure heat and violinist Michael White (who played with Sun Ra, Pharoh Sanders, McCoy Tyner, Kahil El Zabar, etc etc) has one of the most distinct musical voices - instantly recognizable and oddly, melodically irresistible. Good fun.
Willie Clancy - The Pipering Of Willie Clancy - Volume One (1958-1973)
You may recall, way back in Issue #6, I wrote about Scottish smallpipes phenom Brìghde Chaimbeul. What you may not recall, or know to begin with, is that I’ve started working as her booking agent in North America. This new relationship has encouraged me to dive a little deeper into the pipes. As I explained to Brìghde when we met, this dive is about simply trying to get a sense of the vast world of bagpipe music out there, since I know essentially zilch. Though in fairness, a friend recently reminded me that Korn’s Jonathan Davis is a piper, so I do know ~some~ pipers. And I’ve recently become acquainted with Willie Clancy, an early 20th century Irish uilleann piper, whose music I adore. To me, it feels wonky and psychedelic - somehow abstract and damaged. Brìghde tells me it’s quite traditional. In a more contemporary context, I’ve been digging Harry Gorski-Brown, whose work is decidedly more experimental (I think?).
SG - For Lovers Only / Rain Suite (2023)
The predominantly greyscale, Berlin-based label Faitiche dropped this moody collection of guitar experiments about a year ago. It’s the first time artist Andrew Peckler uses this particular pseudonym, as opposed to his given name, in a nod to the fact that this release marks a slight departure. Where Peckler’s normal output is typically electronic-oriented, this one is pure guitar (an SG, no less). The vibe isn’t far from Jeff Parker in solo mode, but dubbier, fuzzier, with just a titch more emphasis on texture over melody.
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
Absolutely banging old pic of regents canal. The bridge right at the Southwest corner of Victoria Park if I'm not mistaken...