The Bridge: Overdrive – Jazz/Rock Party (1972)
Sometimes an album just speaks to you. It’s a combination of everything: the cover, the production, the “vibe” if you will. One component might pull you in; the rest tether you for eternity. Such was the case when I first laid eyes on The Bridge, a one-off project from Kristian Schultze, the keyboard/organ whiz who would later go on to join Passport and then with Michael Holm go on to form the new age band Cusco. None of that is important to know, though: just take a look at that cover and that album title. The whole project screams jazz funk rock grooves for a party, and indeed, Overdrive – Jazz/Rock Party is exactly as advertised. Not a lot going on thematically, just some good time funky jams that make your day a little more fun, and just a little brighter.
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The 9C Files: Bask’s The Turning
Sometimes I lay in bed at night, struggling to figure out what to listen to in order to calm my brain and find some peace. I have it in my head, the way the guitars sound, the kinds of riffs and sinewy leads I want. Slow, rolling, but catchy and propulsive. It’s more than stoner rock; when everyone and their brother is doing it, I crave something deeper, something that locks into my wavelength. I didn’t know Bask before randomly grabbing the promo from the pile, but now, having heard The Turning, not only do I know them, but I know what I was searching for on all of those sleepless nights.
Something to ring the spirit bell inside. A chord that resonates deep in the chasm of my chest. Also, some banjo and gnarly fuzz.
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(Un)Focused Definition Ep. 76: The End (Of year) Approaches
I can’t speak for everyone, but when it comes to this metal fan, the end of year season begins with Decibel Magazine’s annual “Beat ’em at their own game” posting (sans commentary) of their Top 40 of the Year. This year’s list was just released, and there are the usual biases and prejudices along with a handful of surprises. But guess what? That’s true of every list, and while I’ll admit I do look to see where my own tentative picks have landed (or been omitted entirely), I mainly use it to fill gaps in my listening and re-evaluate albums I may have glossed over. So this week’s playlist is a cursory listen and evaluation of those gaps and glosses, with a little reaction summary.
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Moon Letters: This Dark Earth (2025)
Like I said, I came to Moon Letters not via their debut, but from their most recent album. This Dark Earth is album #3 (their sophomore effort Thank You From The Future remains unheard…at least until the vinyl arrives), and it doubles down on the instrumental wizardry and lush vocal lines. But it also moves away from the analog, 70s vintage sounds for something more modern, taking influences from 80s rock and metal to hone in on and craft their own identity. The growth over six years is evident, with disparate sections of songs coalescing better as the songwriting gets more concise. Nothing is lost, much is gained, and it continues to surprise me with each listen.
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Moon Letters: Until They Feel The Sun (2019)
When it comes debuts, I like to come in with a different set of expectations, especially if I’m coming to it after already heard later releases. Such is the case with Moon Letters, a Seattle, WA band whose debut Until They Feel The Sun wears its influences so clearly on its sleeve there are moments when I chuckle. But it’s exuberant, and to my ears comes not from calculation but from the rush of joy that comes from making something that speaks to that inner voice, the one that prompted the picking up of an instrument in the first place.
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Go Kurosawa: soft shakes (2025)
I love it when I discover something with tendrils. As per usual, it started with Erik, who introduced me to the soft, joyous psychedelic haze of Kikagaku Moyo. Through them, the tendril reached to the label, Guruguru Brain, and I discovered an entire world of interesting, complex yet utterly entrancing sounds from the likes of LAIR and Minami Deutsch, among others. But still more tendrils led on, and I discovered the label was co-founded and run by Go Kurosawa, who – to circle back to the beginning – was the drummer and vocalist for Kikagaku Moyo. A few years after the band’s end, he returns with soft shakes, his solo debut. It’s a change in sound that nonetheless is imbued with everything that enchanted me about Kikagaku Moyo’s music.
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Consuming the Tangible 