Los Angeles, lo-fi cosmic country, newcomer Aaron Beckum has the pyramids on his mind. It’s here, in a metaphysical Egypt, the crooner drowns a platitude of sorrows in terra-cotta whiskey amongst the monument's 2.3 million stone blocks…all the while counseled and kept company by Sphinx. Naturally . . .
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The Speed At The Heart Of The World’s Most Beautiful Soup Can, The Roar And Burn Of Chopper Wheels In Your Bedroom And The Beatles Going Very Fast: An infinitesimal scratch at the surface of speed in popular art. By Ethan P Miller (Howlin’ Rain . . .
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Water's warm tonight. The Aquarium Drunkard Show / SIRIUS XM, channel 35. Wednesdays. 7pm California Time. Fazed cookies explicado.
34.1090° N, 118.2334° W . . .
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Been a minute since we caught up with David Nance, but he’s back on the 7″, and back on the road next month with Philly shitkickers, Long Hots, who serve up their own special brand of fried zoner boogie blues.
Nance’s “Meanwhile” is 4 minutes of post-everything rock n roll death race to the bottom of the sea of tape hiss and Wiper-ian broken space riffage. This is an essential 2-sider for anyone whoever stared in their dad’s closet at his faded denim jacket and DREAMED . . .
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Stunning video for Joseph Shabason's "I Don't Want to Be Your Love."
What follows is an illuminating and wonderful dive into the sublime, via both the textures of Shabason's beautifully spare compositions and the surrealist bent of the world created by writer and director Zach Shields. Dan Bejar's hazy vocals float like the dust in those headlights, which remind us that overwhelming beauty can be found in the strangest of places . . .
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Scandinavian jazz. A sleeper released at the tail end of last year, Joel Lyssarides' lp Dreamer made an appearance on our winter medley, Music For The Deluge: A Sonic Meditation. Augmented by Niklas Fernqvist (upright bass) and Rasmus Svensson Blixt (drums), Lyssarides' debut draws inspiration from the Russian symbolist composer Alexander Scriabin and the Argentinian composer Astor Piazzoll. Space, composition, improvisation. A luminous arrival . . .
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A trio, the band consists of Mick Collins (Gories, Dirtbombs), Kid Congo Powers (Gun Club, Cramps, Bad Seeds), and Bob Bert (Sonic Youth, Lydia Lunch Retrovirus.) In 2016 they put out a 7” of “Smells Like You,” a catchy, sing-along raveup that probably would not surprise fans of the members previous bands. Blue Gene Stew, though, is an altogether different animal — one that starts out on familiar ground, yet soon veers and meanders into unknown terrain . . .
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Cate Le Bon joins Aquarium drunkard to "reconcile all of the people and places that played into her most glamorous (and best) work to-date," Reward, "a musical product that was informed and fueled by what she learned from "working with her hands, becoming comfortable with just focusing on the physical product in front of her . . .
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Rickie Lee Jones joins Aquarium Drunkard for a career spanning conversation, from her self-titled debut to forthcoming album Kicks.
"This thing with music," Jones says. "It's like working with magic . . .
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A.A. Bondy is back with Enderness, his first album in nearly eight years. Forsaking the minimalist folk of his previous records, it embraces synths and digital textures, demonstrating Bondy's willingness to keep driving at new approaches: "...Joy Williams...talks about once you figure out how to produce an effect as a writer, you have to discard it, every time . . .
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Riding the technicolor trails of last year’s debut Cosmic Cash, Peoples have recently returned with Natural Facts, which rips and roars. For their first-ever Lagniappe Session, Garcia Peoples tackle classics by Pearls Before Swine and Bob Dylan, channeling the latter's wild collaborations with the late Mick Ronson . . .
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Primal Boogie! This necessary collection from No Quarter brings together the first two Endless Boogie albums: four sides, six glorious jams, recorded on two mics straight into a cassette deck. To call them “out of print” isn’t quite correct – they were barely ever in print at all. Self-released in minuscule pressings in 2005, the LPs both been longtime collectors’ items (and for those of us without deep pockets, passed around in low bit-rate mp3 versions). Now they’re back, and with a totally sweet gatefold, to boot . . .
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75 Dollar Bill’s latest, the ambitious double LP I Was Real, might be their most satisfying work yet, bringing together a kaleidoscopic range of approaches, from expansively tranced out jams to blazing, stripped down duo workouts. This thing sprawls, but never meanders – its 70 minutes fly by. Wherever Chen and Brown take the listener, they do it with a pure sense of adventure, riding the current fearlessly . . .
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Stereolab’s catalog stretches over two decades of constant experimentation and subtle reinvention that began in 1990 when Tim Gane and Laetitia Sadier (the only two constant members) first formed the group. Transient Random-Noise Bursts With Announcements (1993) and Mars Audiac Quintet (1994) are their second and third “proper” albums, following in the wake of numerous DIY singles and EPs, and the full-length debut, Peng! (1992). The two albums, which have just been reissued with several extra tracks and demos, mark a period of transition for the band, one during which they became more conscious of sound and . . .
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The newly released You're the Man is a "lost" album by the late, great Marvin Gaye. Originally cut in 1972 as the planned follow up to What's Going On, Gaye shelved the release. But now, it's been sequenced, edited, and sent out into the world. It's a great listen through and through, but the fourth song, "Where Are We Going?" is the one we currently can't stop playing. Universal and intimate, it captures everything that made Gaye's music from this era so undeniable. It's hard to make it sound this easy . . .
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