Led by cowboy poetry scholar Hal Cannon and hailing from the Zion National Park region of Utah, 3hattrio create what they call “American desert music”, in which they create country music directly inspired and influenced by the desert environment around them. Their new album Dark Desert Night, which comes out today, sees them continuing to refine that distinct, forlorn sound, which you can hear vividly on the beautiful track “Get on the Bus”.
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Much is made of the self-indulgent, show-off noodling that you hear people doing in any Guitar Center—or any other large music store for that matter—any day of the week, but amidst that din one industrious individual recorded a synthesizer album in one of those stores, one track at a time. Just how much of a social commentary or act of subversive outsider art this all is remains to be seen, as very little information has been provided about Apprentice Destroyer’s new album Glass ceiling Universe, but the eight and a half-minute “Cloud Fortress” is a very impressive kosmische musik homage, its hypnotic analog synth reminiscent of Tangerine Dream and Popol Vuh.
One of the more interesting developments in heavy music over the last few years has been the increased hybridization of metal and vintage post-punk. With Grave Pleasures, Psalm Zero, Atriarch, and Vaura leading the underground charge, New Orleans band Heat Dust have followed suit with the hard-charging, primal, gothic strains of their self-titled debut, which is slated to come out 25 September on The Flenser.
After touring with the likes of Black Sabbath and the Pixies as two thirds of the mainstream rock band Reignwolf, David T. Rapaport (aka STITCX) and Joseph Braley started working on new, much different material. Combining classic psychedelic rock with distinct Middle Eastern grooves, the pair recruited singerKatie Blackstock, and the end result is the trio Maszer, whose debut EP will be released in December.
Thirteen years ago I reviewed the wonderfully weird Songs in the Key of Z outsider music compilations for PopMatters, and on Volume Two was a kooky Electric Prunes cover by someone called the Space Lady. With her Casiotone blipping away, Susan Dietrich became a cult figure, busking on street corners in Boston and San Francisco, and releasing a pair of obscure albums in the 1990s.