...the album could be compared to a less sinister version of Inga Copeland’s Lolina, but may in fact have more in common with Rick Holland and Brian Eno’s poetronica . . .
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Thursday, February 13, Aquarium Drunkard presents an evening with Sessa at Zebulon. Sessa's 2019 debut, Grandeza, was one of our favorite records of last year. High praise.
With . . .
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Kiwi Jr’s Football Money is a debut that feels like a finale—like the type of record you might expect to hear from a seasoned band just before they call it quits on the patently impossible indie-rock lifestyle while trying to find a foothold in the real world . . .
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Armed with “Pale Blue Eyes” guitars, “Stroke It Noel” strings and a deliciously wasted vibe that would make Nikki Sudden proud, Donovan Quinn has crafted another absolutely stellar LP with Absalom, which slipped out on the Soft Abuse label late last year. Like much of his work (whether solo or with Skygreen Leopards or the New Bums), the ramshackle nature of the new album’s sound belies the ambitious current that runs through every moment. Check out the dazzling song suite “Satanic . . .
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Ain't it just like the night to play tricks when you're trying to be so quiet. The Aquarium Drunkard Show. SIRIUS/XM radio ~ Channel 35. Wednesdays / 7pm California time + on-demand.
34.1090° N, 118.2334° W . . .
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Folk singer Molly Sarlé knows a thing or two about singing other people's songs—she didn't title her 2019 lp Karaoke Angel for nothing. For her debut solo Lagniappe Session, she inhabited a set of songs by Fleetwood Mac, Big Star, and Annie Lennox . . .
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As the release of the new Destroyer album approaches, Dan Bejar spoke to us about recording in isolation, the principal role of John Collins, songwriting inspirations, the end of the world, and the influence of futurism on Destroyer’s thirteenth album . . .
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For this month's Blanks And Postage column, author Jesse Jarnow, explores the myriad worlds of psychedelic sci-fi pulp lit...and beyond . . .
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As an integral member of Tortoise and an in-demand session player, guitarist Jeff Parker has become one of the most prominent names in the modern jazz vanguard. His new album Suite for Max Brown blends tasteful classicism with electronic and beat-indebted flourishes. Parker joins us to explore the album's varied palette and spiritual core . . .
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Land of No Junction is Aoife Nessa Frances’ debut long-player, filled with softly psychedelic sound (fluttering mellotrons, dreamlike string arrangements, misty/mystical guitars) providing the perfect backdrop for Frances’ gorgeous melodies, quizzical lyrics and free-floating vocals . . .
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Bill Fay's apocalyptic early albums made him a cult figure, but with Countless Branches, the third album in his comeback trilogy, the London songwriter offers another set of songs about how the passing of time can make us continually more human, ever open to love and unimagined possibilities . . .
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Buffy Sainte-Marie’s 1969 album Illuminations is both an outlier of her discography and the era from which it emerged. On top of the feverish folk-rock that was becoming her trademark, its songs are pushed into truly groundbreaking territory by the electronic soundscaping of Buchla synth mastermind Michael Czajkowski . . .
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Guest contributor Daniel Chamberlin, host of Inter-Dimensional Music, "North America's gnarliest mix of heavy mellow, kosmische slop, and void contemplation tactics," explores the nexus of heavy music and mindfulness, exploring the transcendental sounds of Bull of Apis Bronze, Evergreen Refuge, Woodsmoke, and Oneiromancer . . .
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Open rhythms. The Aquarium Drunkard Show. SIRIUS/XM radio ~ Channel 35. Wednesdays / 7pm California time + on-demand.
34.1090° N, 118.2334° W . . .
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Ambient multi-instrumentalist Jim Wallis is set to release his debut full-length, Europa, at the end of the month via the London based Tip Top Recordings. An accompanying score to Rwandan director's Kivu Ruhorahoza's documentary film of the same name, we asked Wallis to walk us through some of the neo-classical, ambient and atmospheric works that bled into his sonic approach . . .
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