Elise Soutar
- Indexed articles, last 90 days
- 5
- Latest publication
- Sep 16, 2026
- Outlet visibility, for Paste Magazine
- Top 500K sites
- Earliest in this view
- Jul 7, 2026
Latest articles
Nina Simone became life itself on Wild is the Wind (opens the original)
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As Albert Ayler worked to light the match that burned any clichéd truism left in American jazz through the mid-sixties, he sat down in a supper club and heard the shape of jazz to come. Soon after, he went to Bernard Stollman, founder of boldly experimental and soon-to-be-financially-destitute record label ESP-Disk, and told him about Iowa native Patty Waters, the young woman he’d heard singing for the diners in a dark room that could’ve been anywhere in middle America—a place burning even faste
How L’Rain tried to smash the cycle of time (opens the original)
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On a balmy Thursday afternoon in August, the swankier patrons of Williamsburg’s Wythe Hotel dodged in and out of a cavalcade headed to the building’s back patio, with each member enlisted to carry a large physical object back—a box of vinyl, craft supplies, a printer, a large block of ice to be smashed later in the evening. Brooklyn artist Taja Cheek, the mastermind behind L’rain, sat with me in the lobby and watched the worker bees over my shoulder, all assembled to make sure a fan listening ev
“Harm of Will” is the soft center of Björk’s Vespertine (opens the original)
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Most things in my life have come to me through this people-watching habit I can’t shake—learning human behavior and remembering faces and talking my way into a job or a friendship or, at the very least, onto a show list. At music venues in New York, even now, there is a specific type of boy I find my eyes following, if only because he’s collected his ticks the same way I have by watching others: sullen stares to each cooing girl at the edge of a stage, a lack of self-consciousness that they had
Nia Archives, 'Emotional Junglist' Album Review (opens the original)
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Growing up near a similarly music-rich city which relies so much on the innovations of its varied immigrant population (albeit an ocean away), much of my time as a student of popular music has been focused on decoding London’s history of sound from a distance. Subcultures that existed for a brief burst of time still bleed into the lineage of so much music that followed, to the point that these strains of sound—from the British Invasion to two-tone to jungle to grime—are now a carefully traced hi
The 40-year excavation of Nirosta Steel (opens the original)
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Steven Hall has spent years chasing the sound of the day Allen Ginsberg introduced him to a neighbor in the Poets’ Building at 437 E 12th Street in the East Village. Before the studio days of fiddling with microphone techniques and creating the illusion of intimacy through a voice put to tape, Arthur Russell invited Hall into his apartment to forge a musical collaboration—a friendship that would last until Russell’s death in 1992, and a mission to properly capture the magical quality of a soft v
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