Music from 2001 is currently being reviewed over at the Aught Music blog. Here's my sixth post for that project (my second for 2001).
The music world, collaborative and promiscuous by its very nature, tends to generate its share of "strange bedfellows"-type alliances. A good example could be seen by those who kept an eye on psychedelic music throughout the Aughts: early in the decade that scene was characterized by a lot of heady cultural exchange between the free folk subculture and the drone subculture. This fecund blooming of partnerships between two microgenres of music that didn't look that similar on the surface was puzzling: both groups were obviously interested in prying at the doors of perception, but was there really a meaningful sonic kinship, or were these just folks who got along because they liked the same drugs? For my money, this is still an open question, but it's helpful, now as then, to have the band Pelt to gesture at as an illustration of the potency of the allegiance. Everything seemed to flow into themFahey-esque Americana guitar, Indian raga structure, ethno-drone instruments from around the globe, acid-trip logic, the blasted-out hum of post-Sonic Youth rock amplificationand from this nexus materialized this campfire apparation: the 2001 double album Ayahuasca. This album maintains real value for me as an awesome synthesis of disparate influences.
Listen: Pelt >> "A Raga Called John, Part Three"