Negro Leo :: Água Batizada

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Rio de Janeiro-based label QTV has just reissued one of the most influential Brazilian records of the last 10 years, and certainly the best of the scene of "canção torta" ("twisted song-form") that the label themselves initiated in the 2000s. Água Batizada is the most pop-sounding Negro Leo ever was, uncategorizable and leftfield as his work tends to be, as it focuses on the extreme potential for indie experimentation and soft surrealist poetics within the musicosmovision of MPB . . .

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Johnny Hartman :: I Just Dropped by to Say Hello (1964)

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It's near impossible to discuss midcentury crooners without mentioning Johnny Hartman. His tender approach to balladeer vocals epitomizes the post-war era of American jazz singers; his rich baritone is the sonic wallpaper to smoky lounges and amber-hued clubs, where night owls relax on the axis of the wheel of life, "to get the feel of life from jazz and cocktails . . .

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Jessica Risker :: Calendar Year

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Jessica Risker lets the sunshine into her delicately folky, faintly psychedelic songs, but that sunshine casts a shadow. The Chicago-based songwriter bubbles and charms amid droning kraut propulsion while the cover of her second album depicts the artist in an upper floor of a weathered city building, holding helium balloons, and that about sums it up. Risker floats weightless fantasies from urban grit and realism . . .

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Bill Orcutt, Steve Shelley, Ethan Miller :: S/T

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There’s serious rock and roll firepower at play in this inaugural disc from three grizzled, amp-damaged veterans. You know Bill Orcutt from his noise-jamming youth in Harry Pussy or his more recent coruscating solo electric albums or his generation-spanning and revelatory Four Guitars Quartet with Wendy Eisenberg, Shane Parish and Ava Mendoza. Steve Shelley comes direct from drumming through free-form grooves with Winged Wheel and, before that, from his work with Sonic Youth, the acknowledged acme of cerebral guitar interplay. And Ethan Miller is the man behind the 21st century’s last practicing classic rock . . .

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Posted on Bill Orcutt Ethan Miller Steve Shelley

Jagged Jaw :: On The Ice

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On The Ice is the latest EP from Jagged Jaw, the nom de plume of Chicago-based musician, Bobby Lord. At times evoking the meditative atmosphere of Harold Budd and the haunting nostalgia of Air’s The Virgin Suicides OST, On The Ice highlights Lord’s many talents as a musical Swiss Army knife: composer, producer, engineer, and an artist with a cohesive vision . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35)

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Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. No static at all.

34.1090° N, 118.2334° W . . .

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More From The Vault :: The Grateful Dead in 1975

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Just about 50 years ago, the Grateful Dead took the stage at the Great American Musical Hall, a newly opened 500-capacity club in downtown San Francisco. The ensuing show, captured on a sparkling 16-track recording, was eventually released in 1991 as One From The Vault. As its title suggests, the double-disc set was the Dead’s first dip back into their live archives, kicking off a cavalcade of concert tapes that continues to this day.

Nineteen-seventy-five is one of the stranger years in the Grateful Dead’s long, strange trip. The band played only three . . .

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All One Song :: Jesse Jarnow on “Sedan Delivery”

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This week’s All One Song guest is the definition of a multi-hyphenate: author, musician, and podcaster Jesse Jarnow. You’re probably going to recognize Jesse’s voice. He’s a longtime DJ over at WFMU, the world’s greatest free-form independent radio station, hosting the Frow Show every Tuesday night, bringing strange and wonderful sounds to the masses. He’s also a podcaster, writing and co-producing the amazing Good Ol’ Grateful Deadcast, which recently kicked off its 12th season. The Deadcast’s depth of research, insight and sweet vibes puts pretty much every other podcast to . . .

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Cass McCombs :: Interior Live Oak

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Interior Live Oak is a striking change of pace for Cass McCombs. His last album Heartmind was all set pieces: eight distinct tracks with eight distinct vibes. Interior Live Oak works in fewer hues but more shades. Every song here has its own little signpost, an indelible sonic signature to situate and settle you on your trek across the record’s four exquisite sides. By the time it wraps on the barn-burning title track, you’re ready to hit play on “Priestess” and do it all over again. It’s a fully-realized ecosystem, a California of the stereo . . .

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Tomislav Simović :: The Zagreb School of Animated Film

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Loosely rooted in classical jazz, the experimental soundtrack work of Croatian composer Tomislav Simović was an integral part of Zagreb's innovative midcentury animation. Heavily inspired by the stylized, anti-Disney conceptual and visual sentiment of modernist American studio UPA, the "Zagreb School" was nothing short of a creative powerhouse. Sourced from their original reel-to-reel master tapes, these lively eighteen snapshots brought to life such animated films that otherwise featured no dialogue or spoken dialogue . . .

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Golomb :: The Aquarium Drunkard Interview

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There are several standout moments on Golomb’s The Beat Goes On, a record whose DNA is shaped by traits synonymous with Yo La Tengo, the Velvet Underground and Silver Jews. Each influence is applied conscientiously in these dynamic arrangements to demonstrate the Columbus, Ohio trio’s appreciation for those artists rather than resting on the merits of sonic achievements . . .

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Smoke :: Everything

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In this day and age, very few albums are truly lost. Some just get misplaced. Take Bay area jazz band Smoke's 1973 album Everything, an album that should be universally acknowledged as a stone-cold classic of groove music and proto-acid jazz and yet seldom gets mentioned. A half-century later, it still sounds fresh. Spacey, funky and ambient in turn, Everything managed to anticipate so much of where twenty-first century jazz has recently wound up . . .

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The Lagniappe Sessions :: L’Eclair

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Earlier this summer the Geneva, Switzerland based L'Eclair released their fourth LP, Cloud Drifter, via our neighborhood friends down the hill at Innovative Leisure. We've been following the Swiss outfit since Frank Maston turned us onto them in 2019 when the group supported his stateside tour, and later recorded the 2021 collaborative album, Souvenir. For their debut Lagniappe Session, L'Eclair reimagines some 1979 disco heat via Anita Ward's "Ring My Bell," embrace the street soul of Lisa Baron's 1990 "Lovin N Affection," and engage with something more recent in the form of Beach House's . . .

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People Are Like Radios :: Mike Miley on David Lynch’s American Dreamscape

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With David Lynch's American Dreamscape: Music, Literature, Cinema, author Mike Miley, a literature teacher at Metairie Park Country Day School and former film studies professor at Loyola University New Orleans, unpacks just some of the ways Lynch's ideas have reverberated across the cultural spectrum. Comparing and contrasting his oeuvre with art by Cormac McCarthy, Lana Del Rey, David Foster Wallace, Maurice Sendak, and others, Miley demonstrates the strange and powerful way Lynch tapped into the human experience and the broader American pop landscape. He joins us to discuss . . .

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Water From Your Eyes :: It’s A Beautiful Place

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This is the duo’s follow-up to the break-out Everybody’s Crushed, a cubist’s abstraction of rock music that you could dance to. It’s a Beautiful Place feels a bit more assured than its predecessor, a bit less confrontational, but still thrillingly volatile. Think Sonic Youth in a blender, Stereolab dodging shrapnel or Deerhoof with a chilly post-punk attitude, and you’re getting there, but no other band is doing exactly this right now . . .

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