Ultra White Violet Light. The Aquarium Drunkard Show. SIRIUS/XM radio ~ Channel 35. Wednesdays / 7pm California time + on-demand . . .
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Provenance: Caxias Do Sul, Brazil. Catavento's Ansiedade na Cidade.
Ansiedade na Cidade by Catavento
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UK spiritual jazzist Emanative's 2019 collaboration with Phil Ranelin, covering the badassery of the trombonist's own "Vibes From The Tribe" from 1975 . . .
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McCraven is a musician, composer and bandleader, but he is also highly regarded for his “chopping” or remixing and re-imagining production skills. We’re New Again, his reconfiguration of the late-career classic Gil Scott Heron album I’m New Here, will be one of 2020’s top recordings, putting a fresh spin on moving meditations on family, personal history and black identity. We talked to him about that project, the process of remixing and the way he and Heron find links between many different kinds of music . . .
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For their inaugural Lagniappe Session, guitar duo Elkhorn take on the traditional ballad "Morning Dew," as heard by Bonnie Dobson via Garcia, the aforementioned Robbie Basho, Dave Holland, Sonic Youth, and a new traditional song, "John Henry," often heard as a ballad and a hammer song or work song . . .
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“It was important to keep everything in context,” Tiersen said in a phone interview with Aquarium Drunkard. “It was really important for me to have [the songs] back and to have them…in the environment they belong.” This sentiment lays at the heart of the sessions for Portrait. How, at 25 years on, can you create a grand unified theory of your body of work? In Tiersen’s case it involved revisiting a wide variety of songs, reinterpreting them alongside new material, in order to create just what the title implies: a portrait . . .
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Episode 600. 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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The Elkhorn adventure continues, hot on the heels of last year’s stellar double LP. This time around, Jesse Shepard and Drew Gardner have recruited multi-instrumentalist Turner Williams (who records under the Ramble Tamble moniker) for an extremely heady journey. On The Storm Sessions, the tried-and-true formula remains in place, with Shepard’s earthy 12-string keeping things grounded while Shepard’s shimmering electric playing ventures into the slipstream . . .
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...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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