Life (Yes)

Wander into tunes by Four Tet, Pharoah Sanders, Lael Neale, and more.

“Problems that remain persistently insoluble should always be suspected as questions asked in the wrong way.” —Alan Watts

Four Tet, “Three Drums”

You ever have a rough week and in the midst of it, a song kind of saves you? That’s how “Three Drums” has been for me over the last couple of days. Its looping, hypnotic repetition is miles removed from the sputtering, scuzzy drops Kieran Hebden created alongside Skrillex and Fred Again on the Coachella main stage, but that only speaks to his vast range, which is further explored in Ted Davis’ fantastic Stereogum 20th anniversary retrospective and Brent Sirota’s look at Fringe’s 2001 album Happiness. Landing somewhere between DJ Shadow’s Endtroducing, the warbled tape loop epics of Carl Stone, or an alternate reality Pure Moods selection, “Three Drums” offers a refuge of grace.

Keith Secola, “Life (Yes)”

I know Jerry loved “NDN Cars” especially, but Keith Secola’s “Life (Yes)” inhabits a very Deady zone to my ears—with a tilt toward Television playing The Joshua Tree. Easy to spot why The Edge is such a fan of Keith’s songs. Check out Circle at Don Giovanni Records.

Lael Neale, “Return To Me Now”

Neale’s 2021 album Acquainted With Night was a Broadcast-meets-Molly Drake slice of late night cosmic balladry. Her new outing Star Eaters Delight might be even better. Joined by Entrance leader Guy Blakeslee on guitar, “Return To Me Now” finds Neale offering metaphysical romance over acoustic strums and Lee and Nancy electric fuzz guitar. Her sterling voice blanketed in tape hiss, she paraphrases the VU at their sunniest—“Return to me now/just like a flower/who loves the sun”—but her spectral tone feels rooted in pure lunar light.

Pharoah Sanders and the Night Music Band, “Thembi”

Similar to my engagement with “Three Drums,” my recent repeat listening/viewing of Pharoah Sanders 1989 appearance on Night Music was motivated by a need for music that offers a doorway to the inside of the present moment—less something to listen to, and more a place I need to go. Though there is an undeniably soothing element to the mantra like phrasing of “Thembi,” it’s not mere easy listening. Both Pharoah and host David Sanborn push things into the red, into the looming and vast beyond. Transfixing and daring, that’s how you know Sanders’ music really was so holy.

Hataałii, “Diné Breeze”

Though the Navajo country artist Hataałii has been releasing a steady stream of singles via Dangerbird Records, it turns out he’s got a wealth of gems stored on his hard drives. COMPLETELY!!! personal is a brand new 28-track demos collection. “Diné Breeze” oozes, part Lou Reed dread-soaked boogie, part performance art vision quest. Hataałii growls and incants, “Yeah I’m coming in hot…you better make some room,” before a genuinely Flea-esque bass run takes center stage. Think Alex Cameron fronts Suicide in the desert and you’re on the right path, but Hataałii makes comparisons feel redundant.

Bobby Lee, “Acid Grassland”

Bobby Lee’s fried slomo boogies draw a line between the motorik pulses of Neu! and JJ Cale’s drum machine drifts. “Acid Grassland,” accompanied by a stop motion clip, is the second single from Lee’s forthcoming Endless Skyways, and while this heater has one foot planted on the terra firma of Planet CCR, the other boldly going toward that expansive sky above. Don’t pass on this grass!

Currently reading: Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska (2023), Warren Zanes; Schulz and Peanuts: A Biography, David Michaelis (2007); Bill Frisell, Beautiful Dreamer: The Guitarist Who Changed the Sound of American Music, Philip Watson (2022)

Watching: The Night of The Hunter (1955); Star Trek: Picard (2023)

Rest in peace: Chris Strachwitz of Arhoolie Records (July 1, 1931 – May 5, 2023). I'm particularly thankful for his work documenting the life and raucous worship music of Phoenix preacher Reverend Louis Overstreet. Learn more.