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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    Miles Davis

    Miles Davis :: Get Up With It

    “Rated X” lacks the monumental sound collage quality of its taped compatriots. The quick (for this era of Miles) seven-minute tune leans into a minimal chaos, almost as if In a Silent Way was recorded in the depths of hell. What begins in disarray slowly becomes the most cohesive thing you’ve ever heard.

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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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    Broadcast

    Broadcast :: Distant Call – Collected Demos 2000-2006

    Even funneled through the warbly quality of these 4-track relics, it begs the question: could the band have released a stripped down, psych-folk affair that worked as majestically as their spacey, electronic flourishes? These cuts envision that hypothetical quite clearly.

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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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    Keanu Nelson

    Keanu Nelson :: Wilurarrakutu

    … Mississippi Records reissue of last year’s revelatory, Keanu Nelson album Wilurarrakutu to a worldwide audience. Nelson is an aboriginal Australian from Papunya, a remote community northwest of Alice Springs, and for this album he recorded himself freely singing his own poems over template Casio beats. Expect simple reggaes, apotheotic synthpop ballads, and new age devotional hymns.

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    Misha Panfilov Septet

    Misha Panfilov Septet :: To The Mesosphere And Beyond

    From the aeronautical title to the space chants and exotica flourishes, the irrepressible Estonia-born, Portugal-based composer and multi-instrumentalist Misha Panfilov has made To The Mesosphere and Beyond a winning and winding homage to early Sun Ra.

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Osees :: SORCS 80

No guitars! For his 28th album at the helm of the Osees, John Dwyer and a crew of art punk instigators switch to synths, samplers, drum machines and two saxophones. That’s a radical change, but it makes surprisingly little difference. If you know the Osees at all, you’ll recognize the sound immediately.

Cass McCombs :: Seed Cake On Leap Year

For an artist who ordinarily focuses on what’s next, Cass McCombs has been doing quite a lot of rummaging through the vaults lately. This collection of early, unreleased material comes out at the same time as the backwards looking 2000​-​2004 Demos, Live and Radio, which is to say the very beginning of the McCombs emergence as an artist.

Anaïs Mitchell :: The Aquarium Drunkard Interview

There seems to be something downright mystical about everything Anaïs Mitchell does. With Bonny Light Horseman’s Keep Me On Your Mind/See You Free, a double album and their third release to date, blends conversational songwriting and a cast of characters culled from our collective mythology to expand upon their already rich brand of storytelling and music-making. Anaïs joined us via Zoom from her family farm in Vermont.

Prince :: Come

“This is the dawning of a new spiritual revolution.” It was 1993. Prince had just announced his eternal rest. Well, metaphorically—though perhaps not entirely. Born from this turmoil was Come, an album that symbolically marked the passing of Prince’s former persona. The cover—stark in black and white—captured the artist poised outside the breathtaking Sagrada Familia Cathedral in Barcelona, casting an undeniably funereal tone that whispered of transformation and finality.

Masayoshi Fujita :: Migratory

Masayoshi Fujita says his music aims to evoke the skies and mountains of his native village of Kami-cho, Hyogo, in Japan. To some extent, they really do: the sedative vibraphones and marimba of Migratory, bundled as they are with a geographical tracklist, allow us to visualize the natural tranquility that is so often associated with a branch of traditional Japanese music.

Unknown Happiness :: A Geographic Records Sampler

When two members of The Pastels started the Domino imprint Geographic in 2000, the ethos was simple. “The idea was to release beautiful semi-unknown music from around the world and take it as far as we could”. Specifically garnering an organic, collaborative spirit between Glasgow and Tokyo, the label reached the influential ears of the likes of John Peel, David Berman and Jarvis Cocker. From avant-pop ensembles and minimalist jazz to sun-soaked guitar soundscapes, here is a sampling of the singular spirit of the mighty Geographic catalogue.

The Necks :: The Aquarium Drunkard Interview

The Necks have created conditions for themselves as a band that embraces a constant pattern of departure and arrival. In the leadup to the release of Bleed, Aquarium Drunkard interviewed Lloyd Swanton (bass), Tony Buck (drums, percussion), and Chris Abrahams (piano, keyboards) of The Necks by email, comparing and contrasting how they work in the studio as opposed to performing live, the band’s decision-making process while recording, the mountains of live recordings in their archives, and more.

Transmissions :: Jill Fraser

Synthesist Jill Fraser has lived a remarkable life in music: mentored by Morton Subotnick, she went on work in film and television, with projects like 1974’s sci-fi fantasy Zardoz and Paul Schrader’s 1979 film Hardcore to her name, in addition to a litany of commercials featuring her inventive sound design. In the ’80s, she found herself on the outskirts of LA’s thriving punk scene, and now, she’s released a new album cum science fictional sacred saga, Earthly Pleasures, on the storied Drag City label. She joins us to discuss.

Jim O’Rourke :: Fast Car (Live In Japan, 9/16/2002)

Luke Combs this is not. Fourteen years after its initial chart-topping 1988 release, sonic chameleon Jim O’Rourke laid hands on Tracy Chapman’s “Fast Car” in 2002 while touring Japan. Where the original tracks just under five minutes, O’Rourke’s alchemy transmutes the iconic riff into a thirty-three minute atmospheric drone. In a word, hypnotic.

Anna Butterss :: Mighty Vertebrate

It’s tempting to describe what bassist Anna Butterss and their Los Angeles colleagues are up to as “redefining jazz,” but that assumes jazz had a solid definition in the first place. In the 21st century, jazz continues to elude classification, with a resurgence of interest in old, previously overlooked and underappreciated material and the appearance of a new cadre of adventurous, genre-fluid players. But Mighty Vertebrate is a different beast. Neither improvised nor manipulated, begun as through-composed songs but later expanded upon and spun out, it’s groove-heavy, lyrical and spacious, with an energy that feels distinctly postmodern even as it acknowledges the past.

Hataałii :: The Aquarium Drunkard Interview

There’s a sign on the cover of Hataałii’s Waiting for a Sign, bearing the words “authentic real deal.” It’s the kind of billboard familiar to anyone who’s driven through the large swaths of Native-held land in the American Southwest. Signs hocking goods, promising hearty meals, beckoning you off the road and into some cafe, trading post, or casino. But that’s only scratching the surface. He joins us for a conversation to dig deeper.

Wendy Eisenberg :: Viewfinder

Wendy Eisenberg contains multitudes. You would be hard pressed to find formal commonalities between the deconstructed bedroom folk of Time Machine (2017), the tender improvisations of Auto (2020), or the banjo freakouts of Bent Ring (2021). Sure, there is that same brightness of the vocals; the felicitousness of the cadences; the centrality of the strings. Yet all of this seems to serve new functions every time, and every time to impose a turn in their way of composing that was previously impossible to predict as a listener.