Monday 09/07 and weekend of Sept. 12th
ECHOES SEPTEMBER CD OF THE MONTH
Fernwood: Sangita
Banjo and sitar aren't usually found in the same country, let alone on the same album, but they cohabit the acoustic landscapes of Fernwood, a duo of Gayle Ellett and Todd Montgomery on multiple stringed instruments including banjo and bouzouki, sitar and mandolin. They carve out an American world music full of sonic details and plaintive melodies. It's our September CD of the Month.
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Tuesday 09/08
AN INTERVIEW WITH HAROLD BUDD & CLIVE WRIGHT
Desert ambiences
Harold Budd had never heard of Cock Robin or their guitarist, Clive Wright. And Clive Wright had never heard of pianist Harold Budd. But when Budd moved out into the desert spaces of Joshua Tree, where the English-born Wright had lived for years, they got together for a pair of albums that match Budd's spacious melodic sensibilities and Wright's deep reverb ambiences. We hear about their desert reveries.
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Wednesday 09/09
ECHOES THEN AND NOW: PATRICK O’HEARN
The original private music
It was 1985 when Patrick O'Hearn released his solo debut, Ancient Dreams. That album still sounds fresh today, but O'Hearn has created a steady stream of CDs throughout the Echoes years, including Eldorado, Indigo and Glaciation. We'll cast back through the solo career of this artist who played with Frank Zappa and Missing Persons when we hear Patrick O'Hearn, Then and Now
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Thursday 09/10
Musicians from Norway and California get together in a desert southwest of the imagination when we hear new music by Erik Wollo and Deborah Martin. They merge guitar and electronics into desert dreamscapes. We also have new music from Johnny Whitehorse.
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Friday 09/11
AN INTERVIEW WITH RHIAN SHEEHAN
Music box and spectral clocks
Rhian Sheehan is a composer from New Zealand who gets to a place of exultant stillness on his CD, Standing in Silence. It’s an album born from isolation and innocence. He rummages through his daughter’s toy box, emerging with xylophones and music boxes that he electronically deconstructs and weaves into arrangements for electronics and ambient guitar, making the music itself sound like a lost artifact plucked from the dust and silence of another culture. From New Zealand, we talk with Rhian Sheehan.
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