Sometimes when putting an issue together, I flip through the archive, just to see what my listening was like the year prior (or two, or three). Ostensibly to compare curatorial notes, but the process always slips into a kind of romantic nostalgia for my own cannon. Corny, no? But whadaya expect from a doink like me who writes a pseudo-diaristic Substack?
In the May 2024 issue, I wrote that I was “out of gas”. In May 2021, I referenced “the many faces of Spring”. For the two Mays in between, I failed to publish anything. This all feels in keeping with the current issue: low on moxie, blinded by the sun, ragged in the rain, saying ‘hi’ to everyone – it's been a minute, how are you?
click the cover to listen or go your own way ~~
Natalie Jane Hill - Solely (2021)
As the cover suggests, there’s a goldenness to Solely—one that pulls me in, tenderly. I’ve been listening to the beautiful music of Natalie Jane Hill more than anything else of late. A proficient fingerpicker with an alluring, low-register voice, Hill weaves keen folk songs that feel perfectly fresh and timeless. They could certainly stand on their own, rugged and unforgettable. Yet throughout Solely, they’re adorned eloquently by cello, autoharp, pedal steel and an occasional bit of percussion, making it a truly sublime slice of contemporary Americana.
The Mekons - The Edge Of The World (1986)
There’s pretty solid consensus that Fear and Whiskey is The Mekons’ best album. And rather than try to push back against such trivial rankings, I’ll simply posit that The Edge Of The World is almost as good, and at least 20% more fun. It’s a weirdo, playful British punk record that mutates folk and country forms into miniature dramas that feel as freewheeling as they do affecting. It’s honestly quite hard to evoke The Mekons’ particular umami. There’s a fair bit of accordion, for instance…
Jonah Dan - Intergalactic Dub Rock (1995)
Absolutely in love with the arrangements on this thing. Truly zonked in the best possible way. There are a lot of dub albums that references galactic, sci-fi themes. And while I’m sure most of it is fully, thoroughly baked, sometimes it only feels halfway-so; tracks interspersed with little laser blasts and warp sounds that function as the narrative equivalent of rap skits. Intergalactic Dub Rock, on the other hand, is properly out there.
Ayumi Ishida & Tin Pan Alley Family - Our Connection (1977)
Back in Issue #18, I included Tatsuro Yamashita’s Spacy and proclaimed to the world that I was finally ready for city pop. I asked you then, dear readers, to send me your favorites from the genre, but I heard nothing. Bupkis. Nada. Here I am again with another city pop recommendation for you and the same request: tell me what’s good! I’m really ready. The summer of city pop awaits.
Bot1500 - Surreal (2022)
Hovering, minimal house abstractions that feel equally taught and fleeting. There’s some serious Badalamenti energy behind this one: its soul is subtle, its melodies strong, and its eeriness feels almost rural (or at least isolated). Corrugated bangers, in case yr spring feels as grey as it does golden.
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