On The Turntable

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    Chet Sounds

    Chet Sounds :: Changes Happen To Everyone, Everywhere

    Performed, produced, and mixed by the Australian-based Chet Tucker in a shipping container on his family’s property in the Sutherland Shire, the album takes a lo-fi glossy and groove-laden trip across 70s-am pop, yacht rock, private press outsider folk, library funk, and Rundgren-esque psychedelia.

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    Floral Portrait

    Floral Portrait :: S/T

    The self-titled debut from Floral Portrait is a rich tapestry of cozy psychedelic pop. The project is a collaboration of Athens, Georgia-based duo Jason Bronson and Jacob Chisenhall, as well as a substantial number of collaborators and session musicians. Recorded over four years at his Athens studio The Glow, producer Jesse Mangum lauds the project as “the most ambitious record I’ve ever worked on”.

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    Itasca :: Imitation of War

    “My past albums feel like growth experiences, but with this album I’ve gotten to a place where I still feel like it’s me, now, and we recorded it two years ago.”

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    Cowboy Sadness

    Cowboy Sadness :: Selected Jambient Works, Vol. 1

    Cowboy Sadness is comprised of guitarist Peter Silberman of The Antlers, drummer Nicholas Principe of Port St. Willow, and keyboardist David Moore of Bing & Ruth. I can’t shake the feeling that this is, at least in part, a piss-take. Cowboy Sadness is a hilariously on-the-nose name for an ambient country project, and an implicit skewering of a genre that sometimes gets a little cheerless in its high lonesome drift. Titling their debut Selected Jambient Works, Vol. 1 makes it, somehow, even funnier.

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    Jim Marlowe

    Jim Marlowe :: Mirror Green Rotor In Profile

    Taking some time away from the aural revelation of Equipment Pointed Ankh, Louisville’s Jim Marlowe comes out swinging on his second solo record. Mirror Green Rotor in Profile is a groove machine that covers serious ground over the course of a mere 30 minutes. Following a long tradition of experimentalism, the artist flourishes the annals of the Avant-inclined with a series of astrally-tinged excursions in face-value beauty.

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    Penza Penza

    Penza Penza :: Electricolorized

    Electricolorized is a decidedly slinkier affair than its stomping predecessor, Neanderthal Rock. Panfilov still scribbles with his sub-basement guitar fuzz, but elements of easy listening, 60s French chanson, Joe Meek sound effects and tasteful David Axelrod-style jazz-funk are slipping into the mix. Still, Penza’s ultra-tight rhythm section never ceases to bounce.

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    Ryan Davis & the Roadhouse Band

    Ryan Davis & the Roadhouse Band :: Dancing on the Edge

    Ryan Davis is tipping his beer to a world in moral and constitutional decline. Ruminating shortcomings, both inward and out, that seem to have settled into the standard, the Louisville-based journeyman defiantly declares he and his crew “the new vigilantes of the two-drink minimum” on “Free from the Guillotine,” the dryly pugnacious opener to Ryan Davis & the Roadhouse Band’s Dancing on the Edge, the latest and perhaps greatest notch in the storied songwriter’s belt.

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    Brigitte Fontaine

    Brigitte Fontaine :: Comme a la Radio

    In the zone where idiosyncrasies collide, intuition is key. Everything is ripe for failure, but if navigated correctly even the most unsuspecting of unions can bear fruit. This happens to be the exact frontier explored by Brigitte Fontaine with Comme a la Radio. Notably, Fontaine is not subjected to the rigid and precise studio ensembles known to most chanson connoisseurs, but rather walks among free jazz titans—the Art Ensemble of Chicago. On top of this, Fontaine has teamed up with Areski Belkacem on this maiden voyage of a collaboration which endures to this day.

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Abdallah Oumbadougou :: Amghar – The Godfather of Touareg Music, Vol. 1

Back in the ’80s, there were only two major Tuareg guitar bands. One of them was Tinariwen from Mali, the other was Takrist Nakal from Niger. And the leader of Takrist Nakal was named Abdallah ag Oumbadougou.

Now, for the first time, a compilation of his songs is being released on vinyl by Petaluma Records. The two-LP set features songs from Oumbadougou’s albums along with outtakes and demos. It’s the sound of guns and dust, of mudbrick buildings baking in the heat, of the mosque at twilight.

Transmissions :: Scientist

Incoming transmission from Hopeton Overton Brown, better known as Scientist. As a protege of dub pioneer King Tubby, Scientist represents dub’s third generation—at least that’s how his 1981 collaboration with Tubby and Prince Jammy, First Second, and Third Generation, puts it. These days he’s living in Los Angeles, where he joined host Jason P. Woodbury for this all-new episode. Prepare to cover a lot of ground, as we move from his origins at Channel One and Tuff Gong to divine messages, run-ins with Lee “Scratch” Perry, aliens and angels, simulation theory, his suspicions about modern cannabis strains, the digital vs analog debate, and much more.

Jessica Pratt :: Life Is

Jessica Pratt returned last week with a delicately stunning new tune called “Life Is,” the first taste off her forthcoming new album, Here in the Pitch. The track, which has been on serious repeat, finds Pratt orbiting a Blossom Dearie-like sphere—its big 60s girl group backbeat, staccato strings, and kaleidoscopic production accompanying her on an existential carousel.

Chet Sounds :: Changes Happen To Everyone, Everywhere

His sophomore outing, Chet Sounds’ Changes Happen to Everyone, Everywhere, released this past fall, is a vibrantly slinky and saturated musical trip that rolls along the bayou and floats amongst the cosmos in equal measure. Performed, produced, and mixed by the Australian-based Chet Tucker in a shipping container on his family’s property in the Sutherland Shire, the album takes a lo-fi glossy and groove-laden trip across 70s-am pop, yacht rock, private press outsider folk, library funk, and Rundgren-esque psychedelia.

Juana Molina :: Forfun

A hypnotic energy courses through Juana Molina’s 2019 EP, Forfun. The story goes that the songs here were reimagined from an improvised set Molina performed in 2018, after her instruments and pedals were misplaced in transit to a festival. Stripped of almost all of her bells and whistles, she more than compensated, conjuring frenetic new sounds.

Atlantis Jazz Ensemble :: Celestial Suite

Out jazz has always had thing for lost continents. Sun Ra had Atlantis. Don Cherry had Mu. Miles gave us both Agharta and Pangaea on the same day. Even Lee Morgan’s most adventurous record has us searching for new lands. “There are,” said Sun Ra, “other worlds they have not told you of.” And jazz often obliquely advanced its social and political critique of contemporary America by conjuring secret and unknown civilizations—beneath the oceans or beyond the stars.

As such, Ontario keyboardist Pierre Chrétien and alto saxophonist Zakari Frantz had to know they were tapping into the deepest utopian imagination of the radical jazz tradition when they named their unit Atlantis Jazz Ensemble.

Pulp Jazz: Twenty-First Century Groove Music (A Mixtape)

Pulp Jazz draws on long-traduced, sometimes crassly commercial, musical forms—jazz-funk, exotica, new age, sci-fi schlock, lounge music and library—and channels it all into deeply funky, low-key psychedelic groove music. More than that, like the best pulp, it somehow comes out sexy as hell, slinky and dangerous. Aquarium Drunkard has been here for it. The world could stand to be a shade groovier. And when we were asked for a mixtape of the primo stuff, we were more than happy to oblige. It’s what we do.

Let’s hope this fresh wave of fusion doesn’t reignite the jazz wars of old. But we’re down to fight if it comes to that.

Radio Free Aquarium Drunkard :: February 2024

Radio Free Aquarium Drunkard returns with a new installment of Chad DePasquale’s New Happy Gathering — freak-out funk, moody pop & avant-folk, plus a few tributes to some recently departed heroes. Then, Tyler Wilcox’s Doom and Gloom from the Tomb offers up some moody, ambient jazziness, gathered (mostly) from late 2023 and early 2024. Sunday, 5-7pm Pacific Standard Time….

Nick Schofield :: Ambient Ensemble

Since moving from Montreal to the bilingual city of Gatineau, Nick Schofield has scaled up his solo project into an ensemble. On his latest album, the electronic voyager glides through 12 short songs. Fans of kankyō ongaku may be used to sidelong odysseys, but Schofield’s compositions fade in and out in five minutes or less, allowing for a panoply of melodic song-sketches.

Miles Davis :: Recorded On Stage, 1973/1974

Collected here are five selections from a private stash of stage recordings, capturing the band at the Shaboo Inn in Willimantic, CT, London’s Rainbow Theater, and a pair of dates on its extraordinary tour of Brazil in the summer of ‘74. Beyond the blistering performances featured therein, the Brazil tapes are a notable document of guitarist Dominique Gaumont’s brief time with the band – a tenure that began on March 30, 1974 (as captured on sides 3 and 4 of the Dark Magus LP) and lasted through the fall.

John Surman :: Way Back When

Discoveries like Way Back When (as well as the truly astonishing excavations the Jazz in Britain project has been putting out these last few years) illustrate how dramatically the UK jazz scene was metamorphosizing at the turn of the 1970s. There was a creative feedback mechanism at work, as innovative ideas from at home and abroad—American electricity, the European avant-garde, Canterbury prog and a homegrown free improvisation tradition going back to AMM and Cornelius Cardew—were instantly assimilated and refined.