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Welcome to the superstar, celebrity, country & western electronic glitch hoedown to beat them all! The hour-long performance on this disc was captured live on October 5, 2002, when Matmos and People Like us with Wobbly in tow circled their wagons in the lecture hall of the San Francisco Art Institute. Having mutually agreed upon a country-and-western theme, Vicki Bennett, Jon Leidecker, Drew Daniel and M.C. Schmidt pored over their archives of honky tonk classics, chopping and dicing nashville’s finest almost beyond recognition, and collectively restitched the mangled shreds in crazed digital quilting bee. Several tense rehearsals and strong pots of tea later, the foursome shuffled on stage and delivered the goods: from panoramic twangfests to off-kilter waltzes to barn-burning stompers.

An in-depth look at the US threat to "save" Venezuela

Peter Gabriel admits about his 1992 sixth studio album, Us. “I think it had some of my best songs on it.” No argument here: Us subjects, like the deep funky grooves, are all killer and no filler, from the pleading divorced parent to his regressing child on “Come Talk to Me“, the matter-of-fact demystification of personal therapy in “Digging in the Dirt”, to the Biblical allusions in “Blood of Eden” inspired by Gabriel’s study of capital punishment.

In All of Us, Howard’s sonic compositions become a musical language through which he responds to the calamities and destruction of the contemporary world — not reflecting or mirroring them, but speaking to them and illuminating the aural sensations they produce. There are moments in All of Us where it’s clear that Howard has scored music for films, with sweeping orchestral crescendos that could be used to mark visual denouements in works of combat cinema (for example, in the fourth track An Hour Off For Friendship). Yet largely, the tracks are bound by their collective sense of unease and our shared sense of precarity.