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Sideways Through Sound June 18, 2014: Tethered To The Polestar

Radio Playlist June 18, 2014 

Earth – Tethered To The Polestar [Hex: Or Printing In The Infernal Method]

Jason Howell – Skeletons [Vital Organs]

Dylan Carlson – Gold I [Gold]


Mirel Wagner – Oak Tree [Sub Pop album advance]

I'm Kingfisher – Force Of Habit [Avian]

Mark Lanegan Band – Bleeding Muddy Water [Blues Funeral]


Dylan Carlson: Interview

Dylan Carlson – Gold II [Gold]

Earth – Song 6 (chime) [Phase 3: Thrones & Dominions]

Dylan Carlson – Gold VII [Gold]

Dylan Carlson – Gold XIX [Gold]

Earth – Ouroboros Is Broken [Hibernaculum]


Popstrangers – Sandstorm [Fortuna]

Rose Windows – Walkin' With A Woman [The Sun Dogs]

Jeff Lang – Pull Of The Drift [I Live In My Head A Lot These Days]


Jack Elias: Live in Session

Jack Elias – Athlete [Chopping Board]

Jack Elias – Chronicle [Live on Sideways Through Sound]

Jack Elias – Oblivion [Live on Sideways Through Sound]


Earth – Rooks Across The Gates [Primitive & Deadly: album advance]

Dylan Carlson – Gold XXIV [Gold]

Sideways Through Spotlight: Dylan Carlson - Gold (SR) & Interview

'Gold' is the first major soundtrack work from Dylan Carlson, composed for a foreign language western of the same name.

A story of German pioneers traversing the Canadian west. Carlson’s score, which revolves around key guitar motifs and their dialog with drone, repetition and loose improvisation, echoes the vast landscapes and almost existential 'otherness' captured in the films juxtaposition of traditional western tropes to places and peoples not normally associated with the genre. This slight remove from genre has been a trademark of Carlson’s approach to guitar and songwriting throughout his career. Whether that be applying the writings of La Monte Young to Black Sabbath sized riffing in Earth’s earliest incarnations or his re-appropriations of country, jazz and folk during it’s second act.

Across the arc of the album’s 24 tracks (designed to be listened to as one suite), Carlson’s lyrical playing dissolves structures into abstraction, stretching out each repetition til you’re left with only the sound of buzzing or scraped strings. It is an inversion of the work of Earth. Stripping away where they would layer. It is an immersive experience. For the first time Carlson’s guitar is presented, bare, alone, with only minimal percussion, fore-fronting his evocative, lyrical control of the instrument in a language that transcends tired “cinematic” adjectives and places you directly into the landscape.

Carlson (founder, guitarist and sole continual member of drone-doom pioneers Earth) began performing under the name Dr Carlson Albion in 2011, primarily as an outlet to explore in greater depth elements he only touched upon with the Earth “Angels of Darkness, Demons of Light” series. Initially the project focused on the folklore and musical heritage of England with early releases devoted thematically to the Pendle witch trials of 1612 and to the music of the 60’s British folk revivalists (particularly Fairport Convention). Carlson filters these reference points through his unique, meditative and personal search for the purity of the riff. An expressive, improvisational approach that serves as a counterbalance to the repetitive force of Earth.






Jack Elias: Live in Session on Sideways Through Sound

Jack Elias is a black star of folksong poetry.

From the more discordant ramblings of Quaoub (what Elias formerly toured Europe under), comes 'Chopping Board', the first grand vinyl release from this Lebanese-Australian songwriter via Spence, Cohen, Prince Billy and Baier cut live from an Erskineville lounge room.
'As ugly as magic' or homemade coffee threatening to stop the heart, vocals fly low and deep under a breath loaded with bold grace, questioning God and all in the great ways of Cave and Callahan while nimble fingers curl across a warm, loose-tuned guitar companion.
Sonia Zadro (of extravagant 60s Italian pop supergroup Terza Madre of which Elias is part) lends rich, lilting vocals evocative of Amalia Rodrigues to beauties such as 'Evil is Old Bread', as if sung from beyond happiness and the grave.
As clear as mud, 'Chopping Board'’s simple, ancient sound presents as a cicatrice without suture, a treasure tonic for the intuitive digger (or coffee cup reader).
"Why I write such excellent songs?" suggests the gutty Elias on the writing of this press release, bastardising Nietzsche.
Listen down.



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Last modified on Wednesday, 16 July 2014 17:55

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