Bobby Barry

1 week ago | thequietus.com | Bobby Barry |Brian Coney

There is no such thing as background noise in Divide and Dissolve’s world. Every note, every groaning chord, every keening saxophone line sits foregrounded, heavy with intent. On Insatiable, Melbourne multi-instrumentalist Takiaya Reed’s most emotionally unguarded and orchestrally scaled work to date, doom becomes a medium for not reckoning alone, but reckoning transfigured by love. Opener ‘Hegemonic’ isn’t so much an overture as a warning.

1 week ago | thequietus.com | David McKenna |Jennifer Lucy Allan |Bobby Barry |Luke Cartledge

The life and work of pioneering poet and director Pier Paolo Pasolini casts a long shadow over this record from French artist Karen Jebane, also known as Golem Mecanique. The album’s title, which translates as “we are all in danger”, is derived from the final interview Pasolini gave before his still-unsolved murder in 1975, and a sense of threat pervades the record from start to finish. This is a dense, foreboding album, its scale and texture as unforgiving as a vast, broiling body of water.

1 week ago | thequietus.com | Bobby Barry |Jeremy ALLEN

Let’s start with some heresy. As furious and phenomenal as Hawkwind’s UA Years were – with an unimpeachable run of albums that includes X In Search of Space, Doremi Fasol Latido, Hall of the Mountain Grill and the live classic Space Ritual – I find myself more frequently visiting the less fabled Cherry Red Years these days, a supernova of creativity at this latter end of a quite remarkable 55 year career (and counting).

1 week ago | thequietus.com | Bobby Barry |Antonio Poscic

“What are some of the possible musics on this planet at this time?” Jon Hassell asked in 1980, trying to imagine a decidedly Western bridge between the global North and South. The essay that the US trumpeter and composer penned to accompany his collaboration with Brian Eno, Fourth World, Vol.1: Possible Musics, would later be as influential as the album itself. Yet, the music of the future that they had tried to imagine never quite arrived.

1 week ago | thequietus.com | Bobby Barry |Cal Cashin

It is testament to the astral, prolific talent of Arthur Russell that two decades after the first reissues of his archival material garnered widespread acclaim, crystals of such high quality are still being unearthed. 2023’s Picture of Bunny Rabbit and 2019’s Iowa Dream hinted at the depth and breadth of what remains unheard in the Arthur Russell Archives, but it is perhaps surprising that it has taken so long for a high-quality live recording to see the light of day.