In Rotation: Pitchfork developer Andrew Gaerig on Stevie Nicks's burgeoning mystical bullshit | In Rotation | Chicago Reader

In Rotation: Pitchfork developer Andrew Gaerig on Stevie Nicks's burgeoning mystical bullshit 

Plus: the Reader's Tal Rosenberg on Gwen Guthrie's uncategorizable Padlock and DJ Sparkletone on the cutting-edge dance-music radio of Rinse FM

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Tal Rosenberg, Reader digital content editor, is obsessed with. . .

Mouse on Mars One of those bands that people whose taste I trust have been recommending to me for years. I don't know why I never really explored their music before, but I've been playing it virtually every morning for the past couple months. Their first seven albums range from very good to excellent, but my two favorites are Autoditacker, from 1997, and Glam, released in 1998 but recorded four or five years earlier. The former is busy and light, like jungle music from the Cloud City in The Empire Strikes Back; the latter, a gorgeous weaving together of slight, chilling techno and ambient pieces reminiscent of Eno's Apollo: Atmospheres & Soundtracks, was originally a rejected score for a film starring Tony Danza.

Gwen Guthrie, Padlock Gwen Guthrie is a really good singer, but what's most impressive about this mini album is that it's the best music I've yet heard from the Compass Point All Stars, who are right up there with the Funk Brothers and the Muscle Shoals crew as one of the premier groups of session musicians. The credits are insane: Sly Dunbar and Robbie Shakespeare on drums and bass (they also produce), Wally Badarou on keyboards, Darryl Thompson on guitar, and then the whole thing remixed by Larry Levan. The music is technically "garage" (referencing Levan's storied Paradise Garage nightclub), but it's pretty uncategorizable. You can hear disco, new wave, dub, boogie, early house, and early techno in it. The future is the past is the future.

Spotify Whatever, I love it. The only downside is that the advertising is a cruel way to get you to pay for it. Incidentally, I'm also buying more vinyl than ever before.

He asks. . .

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