Ana Frango Elétrico hails from Rio De Janeiro, Brazil. Released last week, her new record, Little Electric Chicken Heart, marks the artist's third album in just 18 months. Biographical information online may be scant, but, no matter -- the music speaks for itself . . .
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Equinox edition. Welcome to the September episode of our monthly Transmissions Podcast, our series of conversations with musicians and artists about why—and how—their art exists. This time out, Aquarium Drunkard founder Justin Gage sits down at AD HQ with Devendra Banhart to spin selections and discuss his new album, Ma. Then, Jason P. Woodbury joins Throwing Muses founder, solo artist, and writer Kristin Hersh backstage to discuss future sounds from Throwing Muses and Don’t Suck, Don’t Die, her book about her friend, the departed Vic Chesnutt. And to close out, Jason rings . . .
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On its debut album, Phantom Rhythm, guitar and bass duo Gong Gong Gong draw on the buzzy rock ‘n’ roll bedrock of Bo Diddley and the mesmerizing solos of West African desert blues, twisting up music traditions like Henry Flynt and 75 Dollar Bill, expanding into vast and enveloping territories that sound like a desert rave after sundown . . .
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Equinox especial, crossing the celestial equator, heading southward. The Aquarium Drunkard Show on SIRIUS/XM radio ~ Channel 35. Wednesdays / 7pm California time + on-demand.
34.1090° N, 118.2334° W
You can download the Pastiche Beach mix, aired during hour two, via our Patreon, HERE . . .
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It’s common knowledge amongst armchair pop music historians that The Beatles album Rubber Soul inspired The Beach Boys’ creative genius Brian Wilson to raise the bar for the group’s seminal sleeper album Pet Sounds and that album, in turn, galvanized The Beatles to respond with Sgt. Pepper’s Lonely Hearts Club Band. That’s usually where the factoid ends, but there’s another iconic album that emerged from this friendly transatlantic competition that perfectly encapsulates the zeitgeist of late-sixties pop-psychedelia and continues to inspire musicians around the world: The Zombies’ Odessey & Oracle . . .
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Musician-folklorist-documentarian-artist John Cohen died September 16 at the age of 87. Here, archivist and guitarist Nathan Salsburg offers a remembrance of his life and work . . .
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With her debut solo lp Karaoke Angel Molly Sarlé of Mountain Man has built a monument to her own movements, a West Coast to New York to Appalachia travelogue, but also an internal map vivid with detail and feeling . . .
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(welcome to ‘blanks and postage’ — author jesse jarnow’s monthly column for aquarium drunkard highlighting the heady, askew…and beyond . . .
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When We Are Inhuman, the beguiling new album billed to Bonnie “Prince” Billy, Bryce Dessner, and Eighth Blackbird, begins with quarter note pulses from a single instrument. Alternating pulses from a second and then a third instrument join in before ultimately giving way to the melody of “Beast For Thee,” a song originally heard on Superwolf -- the tremendous 2005 collaborative album by Bonnie “Prince” Billy and guitarist Matt Sweeney . . .
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... Lando’s album from that milestone year (1975), Independência, is an idealistic marker in the midst of the struggle between an oppressive past and an uncertain future for the Angolan state and its society. His pleas for peace are the foundation for this stunning and confident record, singing of love and freedom in Portuguese, the colonial language . . .
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Despite what the thermostat may read, autumn officially begins in 10 days. As we collectively ponder the year 2020, dig into this latest installment of Bandcamping, our regular cruise through the service’s ever-expanding offerings. Press play, skip the middleman and put some cash directly into artists’ and labels’ pockets. Hear a new world . . .
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If Dylan Moon's Only The Blues was released in the 1960s or ’70s, it could have been a gorgeous private press loner obscurity like Dave Bixby’s Ode To Quetzalcoatl, discovered by waxidermists decades later. If it was released in the ’80s, it could have been a proto-synth-pop masterpiece like Nick Nicely’s “D.C.T. Dreams” that magically caught the ear of a major label. If it was released in the ’90s, it could have landed on K Records, Shrimper, or maybe even Flying Nun . . .
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Tonight - Devendra Banhart is the selector. Tune is as he joins Justin on the eve of the release of his latest lp, Ma. The Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time + on-demand.
34.1090° N, 118.2334° W . . .
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A swirling amalgamation of Syd Barrett psychedelia, contemporary UK indie and the pop instincts of Brian Wilson, I recall having to inquire as to the definition of "sui generis" when reading a feature on the Welsh group Super Furry Animals in the mid-90s. A descriptor which holds true today.
Beginning in 2005, with the all-Welsh language Yr Atal Genhedlaeth, SFA's Gruff Rhys has been releasing a steady stream of solo output since. Spanning myriad means of modality, language and approach, Friday sees the release of the artist's seventh lp, Pang!. For this installment of the Lagniappe . . .
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Los Angeles duo Oort Smog somehow make two instruments sound like a dozen on their experimental jazz full-length debut, Smeared Pulse Transfers. A record that gives no quarter, the first track, “Gurge Reaction”, opens with piercing saxophone amidst tinny cymbal crashes. The cacophony only intensifies throughout . . .
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