With psych and krautrock influences aplenty, Mondo Drag’s self-titled full-length, their first for the Los Angeles label RidingEasy Records, is one hazy good time. The band’s psychedelic bonafides, more than apparent in the music of Mondo Drag, has already been established through the music of the retro rock/metal outfit Blues Pills, which features many of the same band members. Swirling, mind-numbing textures meld with the swagger of classic rock—the Rolling Stones in particular—in this potent sonic brew.
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A true transcontinental affair, Spun, the latest LP by the Greek folk musician Moa Bones (aka Dimitris Aronis), reeks of dust, tumbleweeds, and the cawing of desert crows. From the sound of his music, Moa Bones sounds like he was born and raised in a John Ford film, but his actual home is Greece, where he crafts his distinct take on American music. Spun is being billed as containing “extracts of a five-year mini autobiography”; for one such extract, check out the dusky noir of “Take It All Away”, which you can stream exclusively below.
The zig-zag of the guitar riffs on “Daylights Gone”, the newest tune by the rising Seattle outfit Motopony, show that this young sextet has a musical trick or two up their sleeves. The fact that intricate guitar work is the focal point of the track is somewhat unsurprising, given that the band has a healthy arsenal of three guitarists to its name—an atypical feature for a rock band in the present day. “Daylights Gone” features on Motopony’s forthcoming sophomore outing, Welcome You, which was produced by Mike McCarthy (Spoon, Heartless Bastards, Trail of Dead) and mixed by Guy Massey (Spirtualized, Manic Street Preachers, Ed Sheeran).
Fortunately for fans of both Wes Montgomery and great jazz music, the 2012 release Echoes of Indiana Avenue won’t be the last set of undiscovered tunes by Montgomery to grace the world. That LP is being followed up now by in the Beginning, a two-disc compilation that spans the year 1949 to 1958. Of the many features in this voluminous set, five tunes in particular stand out, each of which have been languishing in Sony Music Entertainment’s vaults for upwards of 60 years.
“Far Wes”, which you can here exclusively below, is one such discovery. Taken from a 1955 recording session at New York City’s Columbia Studios (where Miles Davis would later record Kind of Blue), the song is produced by the now reputable Quincy Jones, then an up-and-coming producer. At the end of “Far Wes”, you can hear recording engineer Frank Laico call out, “Quincy, there’s a call for you!”
The all-too-easy to make generalization about the state of the Brooklyn music scene in 2015 is that it’s comprised of a bunch of white guy-led indie bands all trying to out-falsetto Thom Yorke. However, like any music scene, such sweeping generalizations don’t fully encompass the diversity of musical exploration that one can find if he really digs beneath the surface. Enter: Brooklyn Gypsies.