Hot as a roman candle, cool as a case of watery domestics. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays . . .
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This week on our weekly talk show, Transmissions: Joe Casey of Protomartyr. One of the most exciting rock bands of the last decade, the Detroit-based post punk band will release its fifth album, Ultimate Success Today July 17th. The word prophetic isn't a stretch. With its references to disease, institutional brutality, and gross inequality—symptoms of “a cosmic grief, beyond all comprehension”—the new record matches the apocalyptic mood of the US, and much of the world, in 2020. But it also speaks to the continued growth of the Protomartyr aesthetic, pairing contributions by players associated with free . . .
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But however eclectic Songs For John Venn gets, the album is held together firmly by Lou Turner’s singular lyrics and perfectly breezy vocals. She can make even the most tongue-twisted of lines sound as natural as a conversation with friends, blending wry humor with piercing observations, stony wonderings with crystal clear vision. These tunes follow their own weird inner logic but remain altogether accessible for the casual listener — a neat trick, indeed . . .
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The third volume of live recordings from taper Cory Rayborn for Aquarium Drunkard.
Fifteen tracks, including: Silver Jews, Lambchop, Mission of Burma, Tortoise, Magnolia Electric Co., David Byrne & more . . .
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On the surface, nothing about Whit Dickey’s decision to start his new record label, Tao Forms, makes much sense. It’s the drummer’s first time leading such a venture, and he’s doing so in his mid-60s, right around the time most impresarios are looking toward retirement. Too, he’s using Tao Forms as outlet for free jazz (his own as well as music by Mathew Shipp). Not the soundest of commercial moves—especially amid a global pandemic—but that has never seemed to be his concern . . .
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On his new lp Recumbent Speech, multi-instrumentalist and composer Ezra Feinberg offers up six gently propulsive gems that evoke the kosmische sounds of Michael Rother, Brian Eno at his most sublime, the minimalist loops of Steve Reich and Terry Riley, and Pink Floyd. Produced by Feinberg, Tim Green, and John Thayer at Louder Studios in California and Thump Studios in New York, the new album finds Feinberg and team joined by John McEntire of Tortoise and Sea and Cake on drums, Robbie Lee . . .
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Patching samples from an unknown origin found in a used Teac A-2340 with a wistful cosmic country air, he has made something immediately timeless. As much a Sunday morning coffee record as it is a long, humid summer evening. Lo-fi psychedelic rock, echo-chambers of noise, and bedroom soul converse in an imaginative world where Broadcast and Cotton Jones might have jammed together . . .
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Freeform interstitial airwave debris. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
34.1090° N, 118.2334° W . . .
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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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