What to Listen to This Week

Fievel is Glauque sound like Getz/Gilberto if they recorded in a junkyard.

By Daniel Bromfield

SOMETHING OLD

If you vaguely know the KLF as the '90s British rave duo who burned a million pounds and then deleted their back catalog, you might be interested to know that they're slowly making their way onto streaming platforms. The singles collection Solid State Logik Vol. 1 mostly serves to illuminate how inexplicable some of the stuff that's big in Europe is (Google "The Kelly Family" for more on that), but Come Down Dawn is one of the most intriguing products of the early '90s period when ambient music catered to saucer-eyed ravers.

SOMETHING NEW

Fievel is Glauque is just a little less eccentric than its name. Singer Ma Clement and multi-instrumentalist Zach Phillips sound like Getz/Gilberto if they recorded in a junkyard. The louche sounds of classic bossa nova are there on their debut album God's Trashmen Sent to Right the Mess, but the drums sound strangely crude, and the songs are all about a minute and a half long, crammed into a 20-track epic that features over 30 musicians in addition to the core duo.

SOMETHING LOCAL

It's almost unbelievable that I've Seen All I Need to See is the first new album from the Body in three years, maybe because of their constant stream of collaborations, maybe because 2018 doesn't feel like three years ago. But the Portland-based metal-noiseniks' newest album is one of their leanest and best. The divisions between guitar and electronic noise are even more tenuous, and the vocals sound more than ever like Pharoah Sanders' tea-kettle saxophone screeching on John Coltrane's last recordings.

SOMETHING ASKEW

Speaking of which. John Coltrane's penultimate performance at the Olatunji Center of African Culture in New York in 1967 can be heard as The Olatunji Concert, and it's a knockout in every sense of the word. This is about as free as jazz gets. It's remarkable to think that the Sound of Music showtune "My Favorite Things," which takes up more than half of the hour-long CD, was only eight years old during this performance. That's like someone deconstructing "Do You Want to Build a Snowman?"

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