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On The Turntable

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    Fugazi

    Fugazi :: Red Medicine

    In 1995 Fugazi released Red Medicine which to us here at AD was a radical shift in the band’s recorded trajectory. The arrangements grew more complex, the studio-as-instrument ethos becoming fully realized with more extreme textures. From lo-fi abstractions to widescreen feedback, to moments of tender beauty, the overall feel of the album felt more personal, even down to the packaging itself.

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    Styrofoam Winos

    Styrofoam Winos :: Real Time

    Styrofoam Winos—the Nashville-based trio of Lou Turner, Trevor Nikrant, and Joe Kenkel—follow up their 2021 self-titled debut with Real Time, an endearing and invigorating collection of shaggy southern rock and dusty, woolen folk. With a lo-fi, ambling ease, they cruise through road-weary choogles; swampy, faded funkers; harmonica swept confessionals; and meditative, noodling jaunts through the passage of time.

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    Werther

    Werther :: 1970 S/T

    A fine fit for the coming turn of the season, Brazilian singer and guitarist Werther’s 1970 self-titled album is a warm and inviting document of gentle, airy bossa-nova, the music lively and eclectic with folk and Tropicália inflections and adorned with sumptuous orchestral arrangements and choral gatherings.

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    Yoshiko Sai

    Yoshiko Sai :: Mangekyou

    Before the explosion of city pop, before shibuya-key and Tokyo’s collectors mania, there was already Mangekyou itself, the 1975 debut record from Yoshiko Sai, then just a 22 year old dropout from the art school of Kyoto. Approaching the 50 year anniversary of Sai’s legendary debut, WEWANTSOUNDS has announced a reissue that will see the album available outside of Japan for the first time ever.

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    Chu Kosaka

    Chu Kosaka :: Arigato

    Chu Kosaka’s Arigato is wide-open pastoral bliss. The natural extension of Happy End with a bit more of a singer-songwriter orientation, Kosaka pieces together what could be the finest example of American country rock through the lens of a Japanese perfectionism. Don’t let that fool you. The tunes are loose.

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    Les Rallizes Dénudés

    Les Rallizes Dénudés :: 屋根裏 YaneUra Oct. ’80

    YaneUra Oct. ‘80 is their latest release, which bridges the gap between the classic Live ‘77 and the recently unearthed CITTA’ ‘93, which was released for the first time in 2023.

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    Nap Eyes

    Nap Eyes :: The Neon Gate

    Arriving after a four-year gap, the latest album from the acerbic Canadian indie rock band reveals a group in a state of graceful turmoil and artistic ferment. A work of stoned eschatology involving Yeats, Pushkin and a jet-ski-racing game for the N64, The Neon Gate finds Nap Eyes scattered but not disenchanted, committed to finding new ways to sound exactly like themselves.

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    Christopher Owens

    Christopher Owens :: I Wanna Run Barefoot Through Your Hair

    It’s been long enough. This is the album we’ve been waiting for Christopher Owens to make for over a decade… as bold and beautiful and great as any one of the immortal Girls records.

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The Lagniappe Sessions :: Rich Ruth

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Earlier this year saw the return of Rich Ruth via the Nashville based artist’s third long-player, Water Still Flows, an album we described as “absolutely audacious in its musical fusions and amalgamations… a woozy kaleidoscope of spiritual jazz, post-rock, chiming minimalism, Berlin school synth sequencers, metal and drone.” For this installment of the Lagniappe Sessions, Michael Ruth and co. reimagine the Boognish via a cover of Ween’s “A Tear For Eddie,” and take on Black Sabbath outlier “Planet Caravan,” via the band’s sophomore effort, 1970’s Paranoid.

All Hallows’ Aquarium Drunkard

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What does an American Halloween in the year of our lord 2024 sound like? Everyone rings in the spooky season differently. Some people want some melancholy goth rock, others need novelty record exploitation trash. Some people want to draw the shades and build Berlin school synthesizer cathedrals in the air. And some just need to howl ‘Werewolves of London’ at the top of their lungs. It’s all good. We asked some of the contributors to tell us how they’re soundtracking All Hallows. What we got back comprises a monster playlist suitable for apple-bobbing, axe-sharpening and keeping the dark spirits happy.

The Soundcarriers :: The Aquarium Drunkard Interview

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There was an eight year gap between Nottingham, UK band The Soundcarriers’ 2014 album Entropicalia and 2022’s Wilds, but thankfully the retro-pop combo have returned after a much shorter wait with Through Other Reflections, a spellbinding collection of beatific harmonies, motorik pulses, reverberating flutes, and fuzz guitars, all eased along by the haunting vocals of members Leonore Wheatley and Dorian Conway. Multi-instrumentalist Paul Isherwood joins us today to discuss the new album, creating music for the sorely missed television program Lodge 49, and the enduring influence of Scott Walker.

Elias Rønnenfelt :: Heavy Glory

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Elias Rønnenfelt, lead singer of the Danish punk dismantlers Iceage and the art rock prophets of Marching Church, has just released his first solo record, Heavy Glory. It features Joanne Robertson and FAUZIA and includes cover homages to Townes van Zandt and Spacemen 3. Where the early Iceage works were collections of punchy, dry, martial miniatures, this solo album seems to triumphantly conclude Rønnenfelt’ conversion from godless hardcore to gnostic americana.

Hayden Pedigo :: Live in Amarillo, Texas

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Hayden Pedigo is from Amarillo and he pledges his loyalty to the place at the top of his new live album, Live in Amarillo, Texas. Recorded on-stage at The Amarillo Globe News Center just a few days shy of Christmas in 2023, the new album casts a revealing spotlight on Pedigo’s solo guitar grace and evocative songwriting. It’s his attention to both that makes this collection gleam, holding up alongside even his proper studio efforts.

Nap Eyes :: The Neon Gate

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Arriving after a four-year gap, the latest album from the acerbic Canadian indie rock band reveals a group in a state of graceful turmoil and artistic ferment. A work of stoned eschatology involving Yeats, Pushkin and a jet-ski-racing game for the N64, The Neon Gate finds Nap Eyes scattered but not disenchanted, committed to finding new ways to sound exactly like themselves.

Bob Dylan And The Band :: The 1974 Live Recordings

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If the people behind Bob Dylan’s new 1974 Live Recordings had a sense of humor, the set would come plastered with a sticker reading: “FOR SICKOS ONLY.” With 27 discs containing 431 performances (more than 24 hours!) drawn from Dylan and the Band’s hotly anticipated return to the stage in early ‘74, it’s a massive archival haul aimed at the ridiculously obsessed, the hopeless completist. If that’s not you, stick to the three-LP “highlights” release from Third Man. But if you’re like us and love this kind of deep immersion in a very specific Dylan era, you gotta get the whole thing. Admit it: you’re a sicko, too.

Transmissions :: Mitch Horowitz (2024)

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This week on the show, one of our favorite return guests, Mitch Horowitz. A scholar of the occult, he’s established himself as one of the most literate voices in the New Age field.On previous episodes, Horowitz has discussed his books, like Uncertain Places and Daydream Believer—but he’s finally taking the plunge with a podcast of his own. It’s called Extraordinary Evidence | ESP Is Real, a “limited series on the history, struggles, and proofs of parapsychology and the science of studying the supernatural.” How do UFOs and ESP connect? He joins host Jason P. Woodbury to discuss.

Laurence Vanay :: Galaxies

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Like so many lost seventies relics, there’s a level of mystery wrapped up in underground French masterpiece Galaxies. In fact, the “Laurence Vanay” name itself is a pseudonym of multi-instrumentalist Jacqueline Thibault. Released in 1974, Galaxies has largely been siloed in prog-adjacent music circles, but with so many colorful textures at play here, a broader scale reappraisal is more than warranted.

Tim Heidecker :: Slipping Away

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A concept album about the end of the world and the everyday travails of existence, Tim Heidecker’s folksy and loose sixth solo LP Slipping Away finds him offering dystopian short stories alongside vivid workaday musings. It’s both his most ambitious and most personally revealing record yet.