The band Pond hails from Perth, the Western Australian city referred to “as the most remote city on earth.” They blend blissful and mind-bending psychedelic rock, with subversive strains of funk, synth-pop, falsetto, somehow both of the moment, and informed by the past. To illustrate, in a recent video, the band went shopping at Amoeba Music in Los Angeles, and showed off their haul: Nusrat Fateh Ali Khan, Young Thug, Tokyo Psychedelic music of the 1990’s, Tom Waits, Neil Young, 1980’s dub from Scientist, “uplifting doom and gloom” from Spiritualzed, along with Yoko Ono and Plastic Ono Band, psychedelic soul from D’Angelo, Jean Michel Jarre, William Oneyeabor, Cocteau Twins, a Prince candle, and Wu Tang boxers.
With their latest record, The Weather , they have achieved a synth-pop/guitar-psych balance in their West Australian self-reflective songs. Pond joins us in-studio to play some of these songs. - Caryn Havlik
Watch the session live here:
Art-Indie-Rock Band Cloud Cult, In-Studio
The cinematic Minnesota band Cloud Cult is a creative collective who continually celebrates life and love, and catharsis through music and multimedia performances, usually involving painting from stage, and lately, film. Cloud Cult’s emotive, melodic, orchestral indie rock is perfectly suited to the movies. Singer/instrumentalist Craig Minowa and his crew have scored shorts and documentary films, The Seeker, The Great Alone, and lately, Minowa has been working on a score for a National Geographic documentary on wolves ( .)
They’re also independent musicians who are greening the music industry with environmentally-sound packaging, a geothermal-powered studio, and touring with net zero greenhouse gases. The studio is located on an organic farm. - Caryn Havlik
Watch the session here:
Zen Ritual Groove Music by Nik Bärtsch's Ronin
Swiss pianist and composer Nik Bärtsch creates playful and carefully balanced works containing both space and riffs. There might be as much listening going on as there is playing, which points to a spiritual focus, trust, and discipline that comes from Bärtsch's avid practice of the Japanese martial art Aikido. In his electric group, Nik Bärtsch’s Ronin (after the freelance Japanese warriors who served no master), there is slow-building, ever-shifting, sensual groove reductionism .
With newfound freedom and flexibility, Nik Bärtsch’s Ronin, now a quartet, meditates on repeating patterns, or “Moduls” as he dubs his works, in what he describes as “Zen-funk” and “ritual groove.” Those repeating patterns have also earned the label “minimalist”, but the quartet wanders freely between funk, jazz, new music, or Japanese ritual music. Pianist Bärtsch, reedsman Sha, bassist Thomy Jordi, and drummer Kaspar Rast play at all kinds of accents and subtle syncopations, shifting downbeats, interlocking rhythms, and hypnotic motifs which slowly evolve and build to dramatic effect.
Nik Bärtsch’s Ronin perform music from their latest, Awase (a term from Aikido which means “moving together, coming together”), in-studio. - Caryn Havlik
Watch the session here:
Glimmery Electro Art-Pop by Arthur Moon
Arthur Moon is the moniker of composer/singer/multi-instrumentalist Lora-Faye Åshuvud. As Arthur Moon, she is the anchor who has gathered collaborators- including Cale Hawkins (Quincy Jones, Bilal, Wyclef Jean) and Martin D. Fowler (a composer for This American Life ) and other folks. They trade demos and build on musical perspectives, which she then arranges and composes by way of experimentation and improvisation. The result is dazzling music that feels beautiful, affecting, and strange.
Arthur Moon’s electronic experimental pop takes advantage of all available sonic space, teasing around all kinds of textures and timbres: here a fat-bottomed synth bass, there some minimal sampled percussion, perhaps a sneaky guitar effect to connect them, all dancing around swooping vocal lines, combined with vocoder action – in something of a multi-layered collaborative musical collage. Yet, the grand thing is that this assemblage of electronic pop never feels heavy, or over-crowded, or falls into any traps of formulaic synth pop, rather – it’s what Åshuvud calls “incorrect music” and it as perplexing as it is marvelous. Arthur Moon - Lora-Faye Åshuvud and her collaborators - join us in-studio to play some of these new tunes. - Caryn Havlik
Michael Feinstein on Oscar Levant
In the mid-20 th century, pianist Oscar Levant (1906 –1972) was a pre-digital version of a social media star – a ubiquitous, witty presence on American TV and radio, and films. He was also a bestselling author, radio game show panelist, and a talk show host. As a concert pianist, his Gershwin performances, especially a 1945 version of the “Rhapsody in Blue”, were the best-selling classical records in America. But, Levant was a troubled figure off-camera and out of the limelight. He’s the subject of a mammoth eight-volume box set called Rhapsody in Blue: The Extraordinary Life of Oscar Levant , which features never-before-heard recordings and an essay by Michael Feinstein, perhaps our leading curator of the American songbook.
Michael Feinstein joins John Schaefer to present “hors d’oeuvres” from both his personal archives and the box set, everything from Gershwin, to J.S. Bach, to Levant’s own compositions and trippy songs with subversive dissonances. Feinstein also tells tales from Oscar Levant’s career, full of admiration for his acerbic wit and his many fascination with the way he could be taken seriously as both a classical pianist and a film star. Despite debilitating eccentricities and addictions, and the loss of coordination in his hands, Levant was able to regularly appear as a game show panelist on TV shows, publish as an author and host a talk show. Feinstein concludes by saying that there is likely five or six more hours of these never-before-heard recordings of acerbic comedian and real-life piano prodigy Oscar Levant. -Caryn Havlik