William Tyler’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. It offered up a model for what I wanted my head to feel like. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band that performs Goes West alongside William—including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine—is the best and most sympathetic group of players that William could have assembled to play these songs.
In October 1990, Lou Reed interviewed Vaclav Havel, playwright, poet, president of the newly emancipated Czechoslovakia, and – surprisingly? – a Velvet Underground fan. During the course of their conversation, Havel handed Reed a book. "These are your lyrics, hand-printed and translated into Czechoslovakian. There were only 200 of them. They were very dangerous to have. People went to jail." Nobody will go to jail for owning Between Thought and Expression, but Reed's lyrics remain dangerous – not, as in Communist Czechoslovakia, for what they are, but for what they say…
Curzon record is of high quality, and it is good to have this example of his superlative artistry in the music of Mozart, a composer who was particularly close to his heart. Indeed, Curzon's stylistic perfection in Mozart was formed at a time when this composer was often much less well served than he is now. Curzon and the Amadeus Quartet were old friends, and in these versions there is clearly a close rapport between all four players, though [Norbert] Brainin's distinctive, slowish, wide vibrato was already very noticeable in September 1952, when the recordings were made, and seems out of style in Mozart. In every other respect these are superlative, beautifully poised performances.
Sometimes people assume progressive rock should be ever-changing, always experimental and constantly ground-breaking. But sometimes, when you’re lying in your bed with a book to read and a cup of tea, and when you’re not in the mood for listening to a 25-minute experimental avant-garde prog-jazz opus, you look for familiarity and simplicity. Berlin-based prog-folk outfit Favni, formerly known as “Fauns”, achieves exactly this intimacy with their newest album Windswept…
The Clash's Sound System is the band’s re-mastered recorded works collected together for the first time. Contained within classic boombox packaging designed by Paul Simonon, this boxset contains the band’s five seminal studio albums in their original eight-disc format, newly re-mastered by The Clash; a further three discs featuring demos, non-album singles, rarities and B-sides; a DVD with previously unseen footage by both Don Letts and Julien Temple, original promo videos and live footage; an owner’s manual booklet; reprints of the band’s original Armagideon Times fanzine as well as a brand new edition curated and designed by Paul Simonon; and merchandise including dog tags, badges, stickers and an exclusive Clash poster.