![coleman wurlitzer organ coleman wurlitzer organ](https://i.ytimg.com/vi/in1Dkf1NJf4/sddefault.jpg)
Jordan Glenn’s BEAK is a percussion heavy ensemble the blurs the line between dynamic/energetic grooves and chaos. They are guided equally by the works of Eliane Radigue and the Cocteau Twins. Working within the confines of a consonant, primarily “ambient” aesthetic, glou glou focuses on timbre, tonality, and the happy accidents inherent in improvisation. Glou Glou is a collaboration between Gretchen Jude (koto, voice, electronics) and Arjun Mendiratta (violin, electronics). Based on the short story by Charlotte Perkins Gilman, the music is a descent into insanity and explores restraint and confinement, politeness and imagination. For this night “The Yellow Wallpaper” with Sarah Lockhart (drums) and Aurora Josephson (voice/small percussion), both featured on the sample listed on the website above. Past collaborators include Weasel Walter (guitar), Dominique Leone (keyboards), and Damon Smith (bass).
![coleman wurlitzer organ coleman wurlitzer organ](https://3.bp.blogspot.com/-VuVNtMEfgZg/Ub5VJtO_xiI/AAAAAAAAFqA/83Ve6Z78YMQ/s1600/P1090756.jpg)
Combining composition and improvisation, SL Morse is the project of Sarah Lockhart (drums) collaborating with other musicians.
#COLEMAN WURLITZER ORGAN CODE#
Box these sounds whichever way you want to, but they are all Shooter Jennings, and as music, The Other Life is all killer, no filler.SL Morse performs feel-bad modernist literature through Morse Code translations from text to musical notation. He fully realizes here what he's been attempting all along. Jennings truly came into his own on Family Man, but on The Other Life, he pushes the boundaries further, offering some of the finest songs he's written to date. Its lyric is a militant gauntlet directed at those who would disrespect him, yet displays a camaraderie with outsider musicians of all stripes. Album-closer "The Gunslinger" is Jennings' own anthem, drenched in country, rock, R&B, and even jazz, courtesy of the improvisational interplay between Jonathan Stewart's tenor saxophone, guitars, keyboards, and the rhythm section. But more than that, the song is a celebration of all that doesn't fit - anywhere.
![coleman wurlitzer organ coleman wurlitzer organ](https://2.bp.blogspot.com/_ketnxJ0o9v4/S_5eqlFvnnI/AAAAAAAABZ4/a8kP8Xk1MOI/s1600/Whurlitzer+Organ+circa+1928.jpg)
(Neither Jennings nor Biram took a co-write for it something unheard of in Music City.) It underscores the iconoclastic legacy bequeathed to Jennings by his free-spirited parents. This reading of the 1971 tune contains skittering rockabilly drums, pumping upright bass, wailing pedal steel, hyper-acoustic guitars, piercing fiddles, and an additional verse. Young, an underground legend, authored the outlaw anthem "Lonesome Orn'ry & Mean," a signature tune for Jennings' dad. The first single is a wooly, rowdy reading of Steve Young's "White Trash Song," with Scott H. There are fine, midtempo honky tonkers including "The Outsider" and the pedal steel- and banjo-saturated "The Low Road." There are steamy, electric, country-kissed, blues-rock numbers such as "A Hard Lesson to Learn," and the rock & roll boogie of "Mama It's Just My Medicine." There's a shuffling, snarling, futuristic, midtempo Americana tune in "15 Million Light Years Away," with reverb-drenched production that features a weathered (not weary) Jim Dandy - from Black Oak Arkansas - as a duet partner. The set contains gorgeous country ballads such as "Wild and Lonesome" (with Patty Griffin on backing vocals) and the title track. It throws the listener for a loop, but resolutely belongs - but only as the first cut. The brooding opener "Flying Saucer Song," a piano- and effects-driven number, is eventually transformed into a spaced-out, gospel-tinged song about space (outer and inner). The Other Life is wilder, darker, rowdier, and more diverse than its predecessor. Six of these tracks were cut at the earlier album's sessions, including the firebrand "Outlaw You," the tune for the music video that was a musical middle finger to Eric Church and Jason Aldean (which has curiously gone unanswered). If 2012's Family Man was his most "country" album, The Other Life is its companion and mirror, not its follow-up. Shooter Jennings has always demanded to be taken on his own terms.