Play this one loud. Brooklyn’s own Alice Clark — side one, track two, via her self-titled 1972 longplayer. It’s a rendition of Petula Clark’s “Looking At Life” and a meteor of phosphorescent gospel soul. Cool, dewy webs of brass and a jazzed-up orchestra lay down a spacious, welcoming canvas for Clark’s raw power.
On The Turntable
Sessa :: Grandeza
On Grandeza, the debut album from Sao Paolo–born artist Sessa, the eponymous lead track swings casually into the frame with lightly strummed nylon-stringed guitar and sparse hand percussion. Sessa’s deadpan tenor nonchalantly weaves in and out of the accompaniment of his heavenly, all-female chorus; setting the stage for the mesmerizing vocal interplay that highlights the set throughout.Read More
Fragments du Monde Flottant :: Compilation
A spiritual successor to 2004’s Golden Apples of the Sun, the recent compilation Fragments du Monde Flottant proves Devendra Banhart’s ears fully intact. Released by the Genève, Switzerland based Bongo Joe Records, Fragments again finds the singer-songwriter in a curatorial role, culling a dozen demo recordings from his labyrinth of friends, acquaintances and musical compatriots.Read More
Julian Lynch :: Terra
Lo-fi traces of eastern raga, drones, Jan Garbarek, Dave Holland…perhaps even a bit of Plastic Soul leaning sax. All of these figure into Julian Lynch’s thing — a thing he does far away from the music biz hype machine. This record, Terra, is of a piece with another one of his albums, Mare. In fact, we engage with the pair as if they were a double album…we’re not even sure which one came out first. No matter, just listen.Read More
Purple Mountains :: Purple Mountains
David Berman is now recording under the moniker of Purple Mountains, and with the help of Jeremy Earl and Jarvis Taveniere of Woods, has created an album that encapsulates an entire missing chapter of his life—and, in typical fashion, has revealed quite a lot about that chapter in the process…Read More
Yves Jarvis :: The Same But By Different Means
Genre fluid, Jarvis slips as easily into balmy, if broken, r&b as he does sinewy folk. Traces of gospel and homespun funk permeate the record, as its disparate sounds are spliced, screwed and ultimately recombinant. In regard to atmosphere, imagine happening upon a cache of extremely mellow Shuggie Otis demos; if say, Otis had a penchant for hyper-abbreviated 4-track and ambient field recordings.Read More
The Art Museums :: Rough Frame
Cult new wave band The Art Museums tell sordid tales of artists, lovers, and poseurs. Bay Area psych burnouts Josh Alper and Glenn Donaldson converged in San Francisco in the summer of 2009 to record Anglophile jams on a Tascam 388 tape machine (state of the art home-recording circa ’85). Sometimes the collection sounds like Pete Townshend demos. Sometimes.Read More
Bob Dylan :: The Rolling Thunder Revue: The 1975 Live Recordings
Bob have mercy! Just about eight months after More Blood, More Tracks comes another massive Dylan archival haul. The Rolling Thunder Revue: The 1975 Live Recordings weighs in at a hefty 14 discs, giving listeners a front row seat (and a backstage pass) at the traveling road show Bob threw together in the months following Blood On The Tracks’ release. Three discs of rehearsals! Five complete Dylan sets! A bonus disc of curios and oddities! (Oh and hey, there’s that Martin Scorsese doc to absorb as well). The good news? This box is very reasonably priced at just about $80 — a whole lot of bang for your buck. The bad news? Come on, dude, there is no bad news.Read More
Badge Époque Ensemble :: Badge Époque Ensemble
On Badge’s self-titled debut LP, available via Telephone Explosion, they drift through dusted funk moves drawing inspiration from library music records, electric Miles, and the spaced-out hip-hop productions of Madlib, Dilla, and Edan. Flautist Alia O’Brien, from Toronto’s witchy folk-metal group Blood Ceremony, adds signature trills to the grooves laid down by Turnbull on clavinet and Rhodes, while the rest of the group struts in step.Read More
Cycle,” feels suspended in mid-air, a tale of a romance that keeps finding back itself where it started. “The best music would be a conversation with the divine…” says Shelley. “These songs are partly that conversation, at times through the lens of lovers.”
Welcome to the sixth installment of Unearthed, a series of thematic mixes that travel deep into dusty vintage zones to dig up bootleg gold.
Upon first learning that Khruangbin’s next album would be a dub version of their last album, I was confused. I already imagined Khruangbin as a dub version of some imaginary, intermediary group. That’s how otherworldly they seemed. But aside for some atmospheric overdubs, the entirety of their recorded output was recorded live as a trio in a barn in Texas. They’ve fixed that with this latest release, Hasta El Cielo, which finds their most recent album receiving a thorough dub-oscopy with no amount of echo, reverb or heavy low-end spared.
On Eraserland, Timothy Showalter dismantles the rock & roll mythology he’s devoted much of his Strand of Oaks discography to celebrating. He joins Aquarium Drunkard to discuss ego construction, omniscient narrators, and how the new album both ended and began a new chapter for his longrunning band.
While her late husband’s 1961 modal rendering helped reinvigorate the Rodgers and Hammerstein chestnut, the orchestral presentation Alice put forth a decade later is a beast of an altogether different stripe. Kicking off Coltrane’s sixth lp, World Galaxy, the instantly recognizable melody quickly dissolves amidst a very free, swirling cacophony of sound….something like the aural equivalent of David Bowman’s star gate sequence. High praise, indeed!
Though best explored in its entirety, “Approaching Shore” serves as an appropriate microcosm—a drifting synth line wandering circles around tranquil guitar, eventually joined by bubbling electronics that throw ripples across the song’s waters. Unassuming, bucolic, and wistful—Breslin is an absolute delight, borne from a juxtaposition that could easily go astray.
Weird tales from the pacific rim. Outré California.
The Aquarium Drunkard Show on SIRIUS/XMU, channel 35. Wednesday’s / 7pm PST & on-demand.
34.1090° N, 118.2334° W
Cy Dune serves as the stage name of Seth Olinsky of defunct freak-punk-niks Akron/Family. While the music of his former group resides somewhere at the intersections of noise, new age, free jazz and rock ’n’ roll, Cy Dune is rooted in the raw power of guitar and drums — where proto-punk beats blast, and early rock ’n’ roll dance over layered drum riffs. It’s like Teen Wolf fronting The Starlighters – it is hairy but it’s the future! More from Seth – we mean Cy, below …
David Berman is now recording under the moniker of Purple Mountains, and with the help of Jeremy Earl and Jarvis Taveniere of Woods, has created an album that encapsulates an entire missing chapter of his life—and, in typical fashion, has revealed quite a lot about that chapter in the process.
The Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays + on-demand. Hot as a roman candle, cool as a case of watery domestics, tonight’s episode digs into The Old, Weird America.
On September 13th, Alasdair Roberts releases his new album, The Fiery Margin, via the venerable Drag City label. To mark to the occasion, guitarist and archivist Nathan Salsburg reflects here on “The Evernew Tongue,” the first selection shared from the forthcoming lp: “…a jeremiad against the all-too-familiar ‘mocking whine of demagogues…. quick to mock and slow to bless,’ hollered from amid the revelry of the changing year and among the small comforts of home.”
Alright, as we settle in for what looks to be a long, hot summer, dig into this latest installment of Bandcamping, our regular cruise through Bandcamp’s ever-expanding offerings. Skip the middleman and put some cash directly into artists’ and labels’ pockets. Hear a new world!