Elrichman is the sophisti-pop alias of Toronto’s Paul Erlichman. That sly shift of one letter in his surname should give you a hint at the project’s cunning sense of humor, keeping listeners on their toes with wily winks hidden behind vividly realized art-rock played with a straight face . . .
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We're back. This week, we’re featuring Jesse Locke’s interview with Jack Cooper of Modern Nature. Formerly of Ultimate Painting, Cooper has expanded outward with his new project. The band’s new mini-album, Annual, is the follow up to the band’s debut, 2019’s How to Live. Inspired by the group’s time on the road in support of that album, this new one demonstrates the way live performance and improvisation has informed Cooper’s continually more expansive approach to Modern Nature . . .
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Dougie Poole is the patron saint of millennial malaise. On The Freelancer’s Blues, the Brooklyn-based country slacker sings about familiar tropes: vaping on the job, trying Buddhism for a week, considering a move out west, and finally, giving up to hang out at the bar with his buddies. Playing with common woes, pop sheen, and sideways humor, Poole invests his particular blues with a wink and a crooked smile . . .
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Laraaji began his musical life at the piano and with his new lp, Sun Piano, he returns to it. He joined Aquarium Drunkard's Jennifer Kelly to discuss his long musical career, laughter meditation, and the role that music can play in very difficult times . . .
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Japanese filmmaker Nobuhiko Ôbayashi’s cult 1977 horror-comedy Hausu is an apt namesake for the Chicago experimental label Hausu Mountain. Fusing cartoonish imagery with absurdist humor and the occasional scare, the imprint's prolific output since 2012 has connected an international subterranean network. Here, founders Doug Kaplan and Max Allison share 10 selections—ranging from Dead bootlegs to Bandcamp links to experimental movies—that inform their sideways approach . . .
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I’m on my fourth listen, sitting on my porch, sipping Heaven’s Door Straight Rye. I have a house rule that while you’re drinking it, you can only talk about Bob. But no one ever visits, and now they can’t even visit if they wanted to . . .
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Dylan historian James Adams' hour-long, monthly, program diving deep into the depths of all things Dwarf Music.
Or: A celebration of Bob Dylan bootlegs, interview snippets, oddities and more . . .
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Bandcamp is stepping up once again on June 19 in honor of Juneteenth, a celebration of the end of slavery in the United States. For 24 hours, the platform will donate all of its our share of sales to the NAACP Legal Defense Fund, a national organization dedicated to effectively enacting racial justice and change through litigation, advocacy, and public education. In other words, it’s another good day to spend some money on Bandcamp. Here are a few suggestions to get you started . . .
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Riding the liminal yeti. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays . . .
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The first Sonic Boom album in thirty years finds Peter Kember reemerging, paradoxically, at the height of his influence. While the grandiose space-rock frontsmanship of his erstwhile Spacemen 3 partner Jason Pierce has faded somewhat into the safety of the adult contemporary rotation, the seeds Kember has scattered as experimenter, heteronymous collaborator, and champion of analog synthesizers seem finally to be bearing their full fruit . . .
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Our guest this week is Lisa E. Harris, whose new album with Nicole Mitchell is called EarthSeed. Inspired by the works of science fiction author Octavia Butler, it was recorded live at Fullerton Hall at the Art Institute of Chicago and features the Black Earth Ensemble—an all-star collection of Chicago improvisers and free jazz artists—including Julian Otis, Zara Zaharieva, Ben LaMar Gay, Tomeka Reid, and Avreeayl Ra—backing up the two composers . . .
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Here's another batch of recordings from my close to quarter century (!?) as a recreational live audio taper, primarily based in central North Carolina. Recent email conversations with Justin Gage, discussing the depth and breadth of my live archive, sowed the idea for what you will find below - a group of tunes conceptualized as if each were a block of radio station programming. Some thoughts / recollections of the specific shows these tracks were culled from are as follows . . .
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Atenção! An outsize portion of our 2019 listening was dominated by Grandeza, the debut album from São Paulo–born artist Sessa. As such, the follow lagniappe session is something akin to the sound of the inevitably. This, the first installment of a two-part session, begins with Sessa's delicate rendering of Helene Smith's soulful "I'm Controlled By Your Love", a cover deftly employed to audiences while in LA earlier this year. Next, the artist pays tribute to fellow countryman, and Tropicália pioneer, Jorge Mautner -- taking on 1976's “Samba Jambo”, before closing out with . . .
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Neil Young's long lost Homegrown is a worthy addition to the songwriter’s famed “Ditch” period, sharing with those other lps a heavy sense of loneliness, loss and heartache (as well as some of the boozy joy). But it’s a distinct effort, too, filled with its own melancholy and mystery . . .
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23-year-old Wyatt Waddell wrote, performed and recorded “FIGHT!” in 24 hours after witnessing the protests sparked by the brutal killing of George Floyd. That urgency presents itself both lyrically; “There’s already so much pain / And there ain’t nothin else we can do / But to fight,“ and musically; sparse church rhythms keep a fierce pace as the Chicago native’s gritty tenor transforms into a sea of otherworldly voices. Wonderful funk breakdowns help release (or it increase?) the tension, while Waddell’s vocals climb higher and grow more exasperated with each passing verse. By the end of . . .
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