Playlist: December 15, 2009

Didn’t have the energy or the time to write up last week’s playlist…. but here are the notes on this week’s, for Tuesday, Dec. 15, 5:20 a.m. to 9:00 a.m. (Got to start early because I managed to get up early, and we didn’t have a DJ for overnights.  Did I mention KZSU is always ready to welcome new volunteers?)

Full playlist is here. Of note:

* Grosse Abfahrt — “Interkontinentale Luftschiffarht” – Erstes Luftschiff Zu Kalifornien (Creative Sources, 2007) … This band is a teaming-up of Bay Area improvisers (click the picture for a list) with German musicians — the latter being electronics experimenters Serge Baghdassarians and Brois Baltschun, for this album.  The group has a quiet aesthetic overall: lots of respect for silence, and low-key tones that can make the acoustic instruments difficult to identify.  Plenty of “insect chatter” moments of sound improvising as well.

* Bobby Bradford / Tom Heasley / Ken Rosser — “Varistar” — Varistar (Full Bleed, 2009) … The unusual combination of cornet, tuba, and guitars.    I’m not sure the sounds mesh all that well, physically, but I still enjoyed the playing on this track.  It’s a slow progression, with Rosser’s guitar in shimmering, echoey mode, and Heasley’s tuba providing long, heavy bottom tones.  There’s a patience and a sense of atmosphere here, and Bradford is careful not to let the agile cornet cut apart the sound too much.

* Donald Robinson Trio — “Camminare” — Straight Lines Skewed (CIMP, 2001) … Robinson is a top-notch free-jazz drummer who’s often overlooked in Who’s Who listings of Bay Area musicians.  He’s been a key element in bands led by the likes of the late Glenn Spearman or expatriate Marco Eneidi.  His trio album (his only stint as a leader, to my knowledge) consists of improvised jazz with Eneidi’s sax as the front voice alongside Lisle Ellis’ bass.  Much of the music is bright and energetic, with Eneidi flashing the jumpy style that resembles Jimmy Lyons’, but I’d always wanted to give this patient 15-minute track an airing.  Eneidi plays in a slower, airy mode, and you get more space to savor Robinson’s drums (particularly his brushes-on-snare sound).

* Roy Hargrove Big Band — “Ms. Garvey, Ms. Garvey” — Emergence (Emarcy, 2009) … Old-school big-band sounds. Not my cup of tea, but if Roy Hargrove wants to be a big-band leader just once late in his career, I’m not going to tell him no.  Some of the songs on here get really cheesy, in a ’60s Vegas vein, but this one’s got a nice bluesy swing to it, recalling the older big band sounds but infusing them with a funky step.

* Fay Victor Ensemble — “Joe’s Car” — The Freesong Suite (Greene Avenue, 2009) … Fay Victor’s last album was spacey; this one gers even further out.  Lots of rock influence, including massive guitar passages, and a violent and downright eerie tone to the track “Stemming.”

* Bill Frisell — “Little Girl” — Disfarmer (Nonesuch, 2009) … Frisell’s Americana phase continues (as does the phase of having Jenny Scheinman on violin), this time with a theme:  The Depression-era photos of Disfarmer.  They photos have an enveloping emotional quality while also feeling stark and still. Learn more about the pictures and the quirky man who took them, at disfarmer.com.

* Ivano Torre — “La Danza Del Ghez” — Utopia (Altri Suoni, 2000) … Gotta love a band that includes a tuba, a cello, and the fisarmonica (whatever it is, it sounds like an accordion).  This track has a nifty tuba solo and, from Torre himself, a terrific, fast-paced drum solo over instrumental backing. Altri Suoni, one of several Swiss labels that used to send us stuff prodigiously; if you’re looking for adventurous yet melodic jazz with a tinge of Mediterranean folk musics, but without that ECM sound, you could do worse.

* Rhythm Kingz of Bushel Finland — “Rattlesnake Pan Soup” — Rhythm Kingz of Bushel Finland (Majmua, 2009) ….. Bizarro blues that later gets into chaotic improvised/psych.  It’s all tumbling and confused, like vague music out of an unsettling dream, with elements like deep throat singing or, on this track, crazed dobro soloing.

POP ALERT:  * Venice Is Sinking — “Azar Three” — Azar (One Percent Press, 2009) … This is an ambitious pop band that packs somgs with lush orchestration, plenty of frills (poppy trumpets, for instance) and elements of Sigur Ros-like washes.  The “Azar” tracks are instrumentals, starting with one that’s a grand symphonic opening that’s too grand — it’s like those winter days when too much sunshine pierces through your window.  The third of the Azar tracks is like that, too, but less frenetic, easier to take.  As for the pop songs themselves, like “Ryan’s Song,” they’re a ray of sunshine in a more delightful context. ….. Separately, the band Drummer does good, indie rock with nice poppy energy.

Erstes Luftschiff Zu Kalifornien (Creative Sources, 200s)

Go, Go, Go-Go!

Go-Go Fightmaster — Sound 1 (Edgetone, 2009)

The first Go-Go Fightmaster album was a display of aggressive free jazz, stacked with heavy moments but also featuring often bright sax- and guitar-led pieces, and even a Monk cover.

Six years later, the band’s second album is out, and it’s a lot more in the brain-scrambling noisy jazz mode. Loads of fun.  They should be a real treat to see live on Tuesday — that’s Dec. 8 at the Uptown in Oakland, possibly with Aram Shelton as a newly added band member; Shelton’’s Oakland Active Orchestra is also on the bill.

At KZSU, the band is most famous for that first album’s opening track, “Buffy Is Dead.”  The phrase meant a more back then and drew more than a few chuckles. And the track has an appropriate sound, with babbling sax played over a guitar death march — a tongue-in-cheek jazz/metal hybrid.

Jazz elements remain on Sound 1 but they’re more thoroughly dressed in Michelin-Man layers of noise.  “Evil Bohemian” is a happy, swingy sax line that gets backed by a sinister yet toe-tapping guitar riff. It ends up in an accelerated free-jazz rush with Aaron Bennett’s saxophone blaring like a swingy alarm klaxon.

“I Drink from the Big Girls Cup” goes straight for alarm-bells mode, fast and relentless. (Hit single!) Lisa Mezzacappa’s bass comes across in aggressive slaps; Vijay Anderson on drums plays like he’s The Flash chiseling apart the Eiffel Tower, and his subsequent solo is a real treat.  You’re left feeling exhausted.

Some tracks are engineered for raw firepower.  “I Smell the Devil” is thick with John Finkbeiner’s metal-distorted, jazz-hating guitar sound.  “A Fall” is loud in a more granular way, a swirling, crazed tumult.  The longer it goes on, the deeper it eats into your brain.

Bass tends to get short shrift in a loud band, but Mezzacappa gets more than a few moments of glory. In particular, there’s a seriously athletic bass solo on “Put One Fourth,” with small curls of guitar and drums as accompaniment.  The audible out-of-breath huffing on the track is probably Mezzacappa’s — an appropriate effect, because it’s a physically strong solo, an audio version of digging to China.

Yes, there are moments of quiet virtuosity, passages of calm reflection, and even a slowish track. (“The Cosmic Cogitator, with a sinister ritualistic sound and a snazzy, angular guitar solo.)  But the album’s philosophy is best summed up by the three short snippets titled “Sound One” (and Two and Three). They sound like instruction pieces: “You have 20 seconds to obliterate them all. GO.”  Very cool.

I enjoyed the first album partly because of its variety of moods and styles, but the more cohesive sense of group purpose on Sound 1 cannot be denied. It’s a superior effort, the sound of a band that’s daring you to a game of chicken. Go on, take your chances.

Playlist: December 1, 2009

Click here for the full KZSU playlist for Dec. 1, 6:00 a.m. to 9:00 a.m.  Notes and highlights:

* Ben Goldberg – “Lace” — Go Home (BAG Production, 2009) ….. I continue to showcase this group, which I saw live in February and November.  I went for a slower one this time, rather than the funkier tracks that might grab people more forcefully.  It’s still got a solid, ear-catching groove to it, and lots of outside-swinging clarinet.  It may be slow-paced, but you can still lose yourself in the rhythm.

* Scott Fields – “Ghost Trio” — Samuel (New World, 2009) ….. Appropriately ghostly, with pale, single-note guitar lines alongside contemplative sax and cello.  Overall it’s abstract, but it’s got occasional flashes of swingy rhythm or bluesy harmony — surprising, considering it’s based on the text of a Samuel Beckett play.

* Human Being – Live at the Zodiac, 1968 (Nepenthe, 2008) ….. One long, heavy sound sculpture, synth-free, of course, since it was 1968.  Guitar, organ, drums, and a bit of vocals, sent through reverb, delay, and echo units to produce a slow, otherworldly menace.  It must have been a real trip to hear back then.

* The Uptown String Quartet – “Overture” — Max Roach Presents the Uptown String Quartet (PolyGram, 1989) ….. Roach lent his name to this mix of jazz and classical sounds, hoping to “create a body of music for string quartet that exemplifies the talents and creativity of the jazz musician,” as he writes in the liner notes  That Maxine Roach is on viola probably helped germinate the idea, but it was still a worthy cause. Tracks include traditional blues and gospel tunes as well as some more modern jazz; this track was written by Odean Pope, for example.  If you want to hear them, WNYC has archived this 1994 show that includes the Uptown and Max Roach.

* Tim Berne’s Paraphrase – “Piano Justice” — Visitation Rights (Screwgun, 1997) ….. When you hear the albums, you understand why Tim Berne got so enthusiastic about this all-improvisational trio.  The overall style of the music is similar to Berne’s other groups, with long-form soloing that branches off from free jazz and gets burly and crazed, and deep-knit quiet phases; the difference is the lack of Berne’s complex but catchy composing.  I had to cut off this 30-minute track somewhere, and sadly, it was right as Drew Gress began his bass solo.  One of these days I’ll fade into a Paraphrase track where the bass and drums (Tom Rainey) get to shine.  As compensation for my fade-out, I did give Julius Hemphill’s music a spin, in the form of Vijay Iyer’s reading of “Dogon A.D.“

POP NOTES:  We get all kinds of crazy rock and punk music from the Croatian label Slusaj Najglasnije.  F**ckin’ DJ Sedna is no exception to the “crazy” part. He’s like a dub/reggae DJ, only the stuff he spins is more rock-guitar based, with that fuzzy distortion sound. Over that he does some MC’ing, mostly repetitive slogans and/or swear words. Stuff that could play during NBA time-outs.

Thanksgiving Day Set

Also known as: KZSU playlist for Thursday, November 26, 3:00 to 6:00 p.m.

I’ve been at the station for 11 years.  Because my family lives entirely locally, it’s about time I missed a Thanksgiving dinner to help out the station. (In past years, someone’s always beaten me to it.) It felt good to take the time to play a three-hour “miscellaneous” set, focusing on pop with occasional jazz curveballs.

The previous weekend, a relative had asked me about my old Web site, the quasi-blog where I’d been entering my playlists in raw HTML code. I took a visit back there and realized: While this blog is much easier, I really miss that old page. I miss creating the layout, crude as it was, and I really like the look it has.

So, click here for the Nov. 26 playlist, and enjoy my self-indulgent blatherings there. I’ll do things “normally” again for my next regular show, on Dec. 1.

Playlist: November 24, 2009

KZSU playlist for Tuesday, Nov. 24, 6:00 to 9:00 a.m.  Click here for the full playlist.

Notes:

Harris Eisentstadt — “Keep Casting Rods” — Canada Day (Clean Feed, 2009) ….. As opposed to the trumpet-heavy, African-influenced music on many of his albums, Canada Day is closer to a straight free-jazz group, with a sound defined by vibraphone.  He’s also got a sax and a trumpet in there, of course.

Hailey Niswanger — “Four in One” — Confeddie (self-released, 2009) ….. Straight-up contemporary jazz that includes a fast, fluid, and quick-jumping saxophone in the lead.  Turns out it’s played by a 19-year old woman, Niswanger, who put together this quartet from her Berklee associates.  It’s good, inventive stuff; she shows great sax chops on “Four in One” and a complex compositional sense on “Confeddie.”

Shibolet, Josephson, Baker, Looney, Smith — “Number 12″ — Untitled (1959) (Kadima Collective, 2007) ….. Acoustic free improv with local folks and Israeli guest Ariel Shibolet. The titles all come from Mark Rothko paintings, but they’re not all still and silent; this one quickly builds into active, jagged sound work.  I followed up this track with Jacam Manricks’ “Rothko” (mentioned back on Oct. 27), and it was tempting to continue with an all-Rothko set. But the next Rothko-inspired track I found was a string orchestra piece that, while only a couple of minutes long, was soooo still and static.  Wasn’t in the mood for it, so I went with Jen Baker’s trombone album instead (Blue Dreams, mentioned here), which is also rather static but has a colorful tone to it.

Herb Robertson — “Hallucinations” — Shades of Bud Powell (JMT, 1988) ….. Another vinyl gem tucked away in the KZSU library, this is an album of Powell songs performed by a nearly all-horns band (Joey Baron on drums).  Naturally, Robertson leaves plenty of space for improvising, often with the whole group at once (two trumpets, french horn, trombone, and tuba).  The track I picked, “Hallucinations,” has long segments of that group work, the result being a little like the Preservation Hall Jazz Band. When you listen carefully to PHJB, you realize that yes, they’re doing old-timey jazz, but the “solo” consists of every band member except the drummer going off in a random direction. Robertson is like that but more distinctly modern/avant-jazz in his sound, of course.

Phil Kline — “Grand Etude for the Elevation” — Around the World in a Daze (Starkland, 2009) ….. This is actually a 65-minute electroacoustic work intended for surroundsound DVD; they’ve provided a CD version for radio.  It’s ambitious.  There are enormous “boombox choirs,” a string quartet (Ethel!), lots of bells, and, for the final track, 15,000 African gray parrots. The whole project goes for bigness; when I say lots of bells, I mean LOTS.  I went for one of the less bombastic tracks, featuring a thumpy “world” drum rhythm and Todd Reynolds on sweet-but-loud violin.

http://scottrlooney.com/

Playlist: November 17, 2009

KZSU playlist for Tuesday, Nov. 17, 6:00 a.m. to 9:00 a.m. … and man, was it nice to get back on the air after two full weeks away.

Click here for the full playlist.  No time to muse much over this one.  Ben Goldberg’s Go Home album, featuring Charlie Hunter, is in rotation at KZSU now, so you can expect me to spin that quite often.  More about that here.

I also had a DJ trainee, Andy, assisting me — he engineered 90% of the show, actually, and was responsible for an awesome indie-rock set that started with Guided by Voices.

Playlist: Oct. 27, 2009

KZSU playlist for Tuesday, Oct. 27, 6:00 a.m. to 9:00 a.m.

Notes:

* Taylor Ho Bynum & Spidermonkey Strings — Madeleine Dreams (Firehouse 12, 2009) … An eerie and surreal suite with sung text taken from a novel by Bynum’s sister, backed by a slow, ethereal string quartet augmented by Bynum’s cornet and a tuba. Very dreamlike in its movements, slow and gossamer with lots of sour harmonies and quiet patches. The album wraps up with the band doing a few jazz covers: Ornette Coleman (chipper, dry), Duke Ellington (old-timey strings), and Marshall Allen/Sun Ra (particularly cool, with its marching beat and Kyoko Kitamura getting spacey/free with the vocals.)

* Jacam Manricks — “Rothko” — Labyrinth (Manricks Music, 2009) … A forward-thinking album of contemporary jazz, a bit too cerebral to call “mainstream,” with Ben Monder’s guitar adding a comforting yet brainy element. It’s also got Tyshawn Sorey on drums, always a good sign. Most of the tracks will come across as “nice” to the average listener, but there are also two pieces with a small chamber orchestra, adding the drama and pull of strings and horns for some good depth. The track I picked, “Rothko,” is none of the above, a very sparse, icy piece that just floats in front of your eyes. There’s apparently a slow, slow 12-tone row going on in there, but really the piece is about atmosphere and stillness.

* Andy Milne and Benoit Delbecq — “Ice Storm” — Where Is Pannonica? (Songlines, 2009) … I remember Milne as an M-Base/Steve Coleman disciple, spinning complex 21st-century jazz (in the late ’80s) wrapped in brainy funk patterns. I’m familiar with Delbecq as a more avant-garde improviser, and as the pianist on the terrific free-jazz album Y? (Leo, 1999) by Bertrand Denzler. Not the pairing I’d expect, but they pull it off here. These are piano duet tracks, artsy but with some rhythmic flair, as on this track (one of Milne’s compositions).

* Not the Wind Not the Flag — Tintinabulum (Barnyard, 2009) … Varying between niceness, jazziness, and harsh noise, this is a single 38-minute track by Colin Fisher on guitar and Brandon Valdivia on drums. The piece starts in slowness and silence with one acoustic chord struck at long intervals, moves forwards through some more active work, and ends with a pile of electric-guitar distortion and feedback alongside crashing cymbals. Just before the loud part starts, they seem to reprise the lonely chord that started it all.

* Rent Romus‘ Lords of Outland are celebrating their 15th anniversary with a limited-edition 2-CD set combining old tracks, unreleased tracks from the past 15 years, and a newly recorded full-length album. The band has played only sporadically (such is the nature of the free jazz world, especially on the west coast) and has had a varying cast over the years, so the sound has varied quite a bit. You’ll Never Be the Same (Gert Rude, 1995) is mostly straight-up acoustic free jazz with lots of fast playing and Romus doing the two-sax trick occasionally. There’s a buzzy fierceness in there, though, which is a common tie with the newer You Can Sleep When You’re Dead (Edgetone, 2007), which is full of electronics and echoey evil vocal babble.

Some permutation of Lords of Outland will be doing a CD release show on Thursday, Oct. 29, at downtown San Francisco’s Luggage Store Gallery. Also on the bill are Eddie the Rat (cool!) and electronics/noise outfit Headboggle.

Playlist: Oct. 20, 2009

KZSU playlist for Tuesday, Oct. 20, 6:00 to 9:00 a.m.

Full playlist is viewable here. Notes:

* Scott Fields — “Eh Joe” — Samuel (New World, 2009) … A sublime track that opens with fluttery sax, brushed drums, and bowed cello. The sound kind of scratches along, picking spots to make a mark while otherwise resigning to a calm flow. While the track later breaks into aggression, with growling sax, rock-sounding guitar, and even some concrete jazz moments, it’s still very different from “Not I,” which is jumpy, chaotic, and jagged. All three long tracks on here are based on Samuel Beckett plays, where Fields turned the words and stage directions into music. That includes a lot of bent inflections, particularly on Fields’ guitar, as if to emulate human speech. A very impressive concept. I’m not familiar with Beckett’s plays, but it would be interesting to correlate the moods of these pieces with the atmospheres of the plays.

* Jacob Fred Jazz Odyssey — “The Black & Crazy Blues/A Laugh for Rory” — One Day in Brooklyn (Kinnara, 2009) … JFJO added a lap steel guitarist to this album. This is the opening track, starting with a relatively sad, cowboy-bluesy sound before jumping into the, well, jumping antics you’d expect. Lots of lap steel for a country accent.

* Joel Harrison — “High Expectation Low Return” — Urban Myths (High Note, 2009) … Harrison has polished a guitar-jazz sound that’s airy but carries lots of compositional complexity. He tries out some other territory here, including the funk of “125 and Lenox” and the jumbly, fast, free-jazz of this track. It’s not as crazy as Otomo Yoshihide’s take on “Gazzelloni” (which also got played today) but it’s pretty far out for the High Note label.

* Hildegurls — “Act IV” [excerpt] — Electric Ordo Vitutum (Innova, 2009) … A remixing of spiritual choral music from Hildegard (12th century nun) with electronics, samples, noise, and solos in English. The starting source is her musical play, Ordo Vitutum, a pre-opera opera. Each of four main acts features a different female composer, in this case Elaine Kaplinsky, embellishing the original. The results combine tradition and soothing vocals with more shrill, theatrical passages; Kaplinsky’s seems to be the most booming of the four acts. Very cool idea.

* Tri-Cornered Tent Show — “Broken Toys and Black Orchids” — V/A: Mudwagon: A BlackmetalFreejazzImprov Compilation, Vol. 1 (Edgetone, 2009) … A compilation of mostly rock-minded artists from the Bay Area’s Edgetone label, although a couple of jazz-improv tracks make it here as well (Jim Ryan’s The Spirit Moves Us, for instance).

* Dan Aran — “Gul Lihibib” — Breathing (Smalls, 2009) … A nice, open-aired sound with a middle-eastern tinge (which isn’t present on every track of this album).

* The Naked Future — “We Fly Beneath and Above the Flux” — Gigantomachia (ESP-Disk, 2009) … A descending crush into chaos. It’s a free free-jazz piece, with everyone going nuts, but anchored by some precise riffs from pianist Thollem McDonas. The album overall is pretty crazy and also features bass clarinetist Arrington de Dionyso of Old Time Relijiun fame.

Meliana Gillard’s Day One is a pleasant and poppy jazz take with a small dash of fusion, courtesy of electric guitar and electric piano. It’s too “sweet” for my usual sound, but I figured I’d give it a go one time. It’s the kind of sound that I’d associate with a summer sunrise, very optimistic. …..

POP NOTES: I went overboard in adding pop songs to the mix this time. That’s just the mood I was in … Madlib’s latest is a varied mix, of course, because the base sound depends on what record he’s spinning. I went for a kind of ’70s pop-with-jazz-in-it mush track (with samples over it, of course). I enjoy fitting this kind of stuff into the show, for a modern kick. ….. The Lost Fingers are a gypsy jazz band that does ’80s pop covers. Awful old songs done in a folky eastern-European vibe, a combination that can’t help but make you smile. … Americans in France are a high-energy garage rock band, great stuff.

Playlist: October 6, 2009

Click here for the full KZSU playlist for Tuesday, October 6, 6:00 a.m. to 9:00 a.m.

So, in two weeks of doing my new Tuesday slot, I’ve found another disadvantage: I can’t find time to write up these playlist notes! Small price to pay. I’m relishing the quietude of the morning studio and the immense acres of available parking. After years of dealing with Friday afternoon crowds, it’s the promised land!

Notes:

* Klang — “No Milk” — Tea Music (Allos Documents, 2009)
… Yet another quartet from the rich Chicago free-jazz community, this time focusing on 1950s influences, primarily Jimmy Giuffre. Klang uses a vibraphone to produce a lightly upbeat sound that’s catchy but still adventurous. It’s got a sound to go with the album’s placid coffeehouse cover.

* Huun Huur Tur and Carmen Rizzo — “Mother Taiga” — Eternal (Groove House, 2009)
… Pitting throat singing with electronics. Tur is no stranger to this kind of idea, having recorded with Ry Cooder and with the Kronos Quartet. This time, the pairing results in some very nice drones.

There’s a similarly minded CD in rotation that mixes music of Hildegard with industrial electronics and various tape-manipulation tricks. Couldn’t get to that one this week, but next week…

* Lester Bowie — “Spacehead” — All the Magic (ECM, 1982)
… There was an all-star Lester Bowie tribute happening Friday (the 9th) in SF, so I took the opportunity to bring some Lester out of the vinyl collection. All the Magic (1982) is a two-album set dedicated to his mother, who’d passed away recently, and the gatefold includes pictures of Lester with school bands (formidable marching bands in uniforms, serious stuff) and of his family. It’s also got a really good photo of modern-day Lester leading one of his big bands.

The first album consists of Lester and a band, so I played one track from there. The second album is all Lester, doing solo trumpet with overdubs, so I wanted to spin one of those, too. I picked the track “Okra Influence,” because … well come on, it’s called OKRA INFLUENCE!

The tribute was something to behold, I’m sure. Roscoe Mitchell and Famadou Don Moye from the original Art Ensemble; Corey Wilkes, the guest musician who’s been Lester’s de facto successor; and Fred Ho, making a rare West Coast appearance. For old time’s sake, have a listen to an old Fresh Air interview with Lester.

Playlist: Sept. 29, 2009

KZSU playlist for Tuesday, Sept 29, 6:00 a.m. to 9:00 a.m.

A new era! Actually, no — I might go back to my Friday time slot within months. Call it a mini-era. Either way, I’ve migrated back to my early-morning roots to kick off the station’s new fall-quarter schedule.

Because we’re often off the air during the 5:00 a.m. hour, I’ll start most of these shows with a long track — 10 minutes minimum, 20 minutes preferred. I figure by the end of that, I’ll have three or maybe even five listeners out there for my first microphone break. Hey, a guy can dream, can’t he?

Tim Berne started his new/current era of self-publishing with the 3-CD Bloodcount Unwound set, so I used that as my starting point. “Loose Ends” is a 13-minute piece that opens with a catchy blaring of horns that drops into a tough-grooving bassline. Good way to get the blood pumping. I think I’ve said that before.

Unwound was indeed the first release on Berne’s Screwgun label, which started before Internet promotion was commonplace. I happened to see a show of his just before he launched, where he told me the whole plan and pre-sold me a copy. I like to think I was one of the first people to receive Unwound in the mail.

Anyway, click here to see the full playlist.