As long as it’s steamed and unsalted white rice, the possibilities are practically endless when it comes to rice. Sweet or savory, it’s all good! Except for this time, we’re taking a step back from the savory, and we’re leaping into the sweet to explore the world of rice pudding. We know it’s not the most delicious dessert for some people, especially when it’s compared to brownies, ice cream, or cake, but that doesn’t mean it can’t be as delicious! …
Though Black Pudding marks the first time that singer Mark Lanegan and multi-instrumentalist Duke Garwood have recorded together, it isn't the first time they've collaborated. The latter toured with the Gutter Twins, Lanegan's project with Greg Dulli. Garwood's name isn't as well-known to the general public as the singer's, but his reputation among musicians certainly is. He's worked with everyone from the Orb to Wire, from Wooden Wand to Sir Richard Bishop, from Josh T. Pearson to Kurt Vile. For those familiar with Lanegan's 2000s solo work, the moody nature of the material here will come as little surprise; let's face it, his voice is coated in darkness. That said, all but two of these songs – the lovely guitar instrumentals by Garwood that bookend the album – are co-writes. They range from spooky blues numbers such as "Pentacostal" and "Death Rides a White Horse," where the guitar is the primary instrument, to fractured, skeletal, nocturnal funk numbers such as "Cold Molly."
Pudding En Gisteren (1972). The third Supersister album is a big favorite with prog fans because it provides a good representation of the group's combination of Caravan-inspired jamming and Zappa-esque humor. Pudding and Gisteren consists of a pair of pop songs and pair of lengthy prog jams. The songs are instantly appealing: both "Radio" and "Psychopath" combine witty narratives with jaunty, hook-laden tunes that pack plenty of musical complexity into a compact space. The longer-form jams show great technical prowess and the occasional element of wacky humor ("Judy Goes on Holiday" finishes with an unexpected but amusing parody of doo wop music), but they lack the cohesiveness and memorable themes that define the best prog rock epics…