The Lagniappe Sessions :: Jennifer Castle / Second Session

Lagniappe (la ·gniappe) noun ‘lan-ˌyap,’ — 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

On her recent album Angeles of Death, singer/songwriter Jennifer Castle feels out the concept of grief, turning it over like a wet stone in her hand. It's a remarkable record, both pained and celebratory, the work of a writer whose words are direct and sharp.

"It mourns and it celebrates, embracing the transformation of time, the eternal constellation of growth and decay and growth again," our own Chad DePasquale wrote in his AD review. "Like some sacred text, it is a scriptural paean to the loved ones lost and the indelible mark they’ve left on our lives." For her second Lagniappe Session, Castle selects two songs with similarly poignant lyrics, Bob Marley's "Stand Alone" and Brooke Benton's "I Got What I Wanted."

Jennifer Castle :: Stand Alone (Bob Marley)

"Stand Alone” by Bob Marley and the Wailers (1971) is a perfect heartache song. Reggae is the best during the Canadian winter to help motivate general living, with its inherent messages of power, endurance, love, and positive resistance. I love this song as it focuses in on the dilemma of blame. The Wailers carry it all by their special backing vocals, and the melody gives me heart-stoppage each time.

Jennifer Castle :: I Got What I Wanted (Brooke Benton)

I found an old mixtape tape recently while trying to record on my four-track for this session; it was a mixtape from 2006-ish when my friend Davida Nemeroff (who took the  Angels of Death  cover shot, and made the “Texas" video) lost her dog to a streetcar accident. She had a gathering in the park to commemorate her dog, which ended up being young Toronto versions of ourselves on blankets, swaying drunk in the summer, singing along to a small handheld tape player (RIP Beatrice: Too Young To Die). This song (from 1963) was on that tape, but it was the Ted Hawkins version (incredible).  

It was nice to hear it again recently. I hadn’t listened to it since those days, but I started to sing it like an old familiar around the house last month. Then I remembered   Woolly Leaves used to sing it (Will Kidman from the Weather Station’s solo stuff) and it reminded me of that time too, 'cause we used to hang out a lot back then 'cause I hung with the Constantines a lot, and he is in the Cons. Victoria was roommates with Will at that time back then too.   Will and Davida were best friends. When I brought it up to sing for these sessions Victoria and I reminisced about the good old days like a perfect jam will allow one to do.   A great tune about regret that gets swaying blanket people singing together. Love how Victoria’s vocals chime in at the very end like a broken-hearted drunk angel alone at a table, who finally lifts her head to sing along,   just as the song is done.   Closing time, etc. Regret touches us all.

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AD Presents: Talk Show / In Conversation With Jess Rotter

Los Angeles: Tomorrow night, Wednesday May 30th, Aquarium Drunkard presents the first installment of TALK SHOW, an intimate series of conversations surrounding on the worlds of music, art, film and beyond. Our first guest is artist Jess Rotter discussing her work in illustration, design, music + inspiration and forthcoming projects. Join us.

8pm. Free, open to the public at Gold Diggers in East Hollywood. Records and revelry to follow . . .

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Kamaal Williams :: The Return

“Return from what?” you might ask.

Kamaal Williams, a.k.a. producer Henry Wu, was once a.k.a. one half of Yussef Kamaal, an excellent jazz duo with Yussef Dayes that released one nearly perfect album in Black Focus, and then flamed out almost as quickly as it formed. That album was released all the way back in November 2016, but to hear Williams’ joyful playing with a new trio under his own name, you’d think he’d spent the last eighteen months in exile.

Even so, much of . . .

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Wooden Shjips :: V.

Wooden Shjips, the bay-area quartet led by Moon Duo’s Ripley Johnson, release their fifth album, V., via the stalwart Thrill Jockey Records today. As the shadows cast begin to lengthen out here on the east, this new disc’s heavy dose of warm shoegaze psych is a more than welcome companion. Embodying the psychic spectrum of a nighttime desert drive, a lost weekend in the valley . . .

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Ryley Walker :: The Aquarium Drunkard Interview

Catch Ryley Walker one day, and he may be forecasting his future as a bald, ponytailed guitar shredder; catch him another, and he's sketching out a scene from the mid-2000s, scheming to pick up a book of pop theology and some blog rock. But somehow, his new lp, Deafman Glance, makes space for the whole of Ryley, a young dude whose early records felt like lost Britfolk artifacts, but whose ubiquitous social media presence feels pretty damn modern.

A proggy, intricate, and often deadpan chunk of jazz-folk, it's also Walker's most personal record, one that finds the singer/songwriter opened up in unexpected ways, obsessing over debt, bus fare, and the lack of a master plan. "It's not very fun/Being a fun person," Walker sings on "Can't Ask You Why," and then as if acknowledging a tendency for overthinking, adding "And I can hear you sigh."

Recently, AD caught up with Walker on the road, to discuss how Chicago influenced the new album, honing a poetic voice, and why saying "stupid" things online can be a folk-rock boon.

Deafman Glance by Ryley Walker

Aquarium Drunkard: In the notes that accompanied the release of Deafman Glance, you wrote about how making it stressed you out. How do you feel about it now?

Ryley Walker: Like any other paranoid, fucked up artist, I loathe what I do one minute and love what I do the next. I like it, yeah.

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SIRIUS/XMU :: Aquarium Drunkard Show (7pm PST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard every Wednesday at 7pm PST with an encore broadcasts on-demand via the SIRIUS/XM app.

SIRIUS 522: Jean-Michel Bernard — Genérique Stéphane ++ Tinariwen — Tenere Taqqim Tossam ++ The Ify Jerry Krusade — Everybody Likes Something Good ++ Johnny ‘Guitar’ Watson — Lovin’ You ++ Fatback Band — Goin’ To See My Baby ++ We The People — Function Underground Darondo — Let My People Go ++ Los Issufu & His Moslems — Kana Soro ++ Moses Dillard — Tribute To Wes ++ Clarendonians . . .

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Some For Dudu :: A Dudu Pukwana Companion

“If he plays a gig in some club, it’s the talk of the town for the whole year. Who can afford to pay for so much entertainment?… Well, for those who do not know Dudu Pukwana, he is the heaviest of the heaviest alto saxophone players and for many of us coming from South Africa… THE TEACHER. Go on doing the BOOGIE Bra Dudza.” — Joe Malinga (liner notes, One For Dudu)

Here now, “Some For Dudu,” a celebration and glance at Pukwana: the teacher, the exile, the saxophonist, the front man, the . . .

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Buck Curran :: Morning Haikus, Afternoon Ragas

On his second solo album, Morning Haikus, Afternoon Ragas, guitarist Buck Curran assembles a set of peaceful Takoma-style guitar instrumentals, custom built for thoughtfulness and calm. Best known for his work with the psych-folk duo Arborea, Curran currently resides with his family in Bergamo, Italy, and this sublime lp finds him reflecting on familial spirits. Dedicating the album to his children Shylah, Liam, and Francesco, Curran devotes the first half of the album to carefully composed ballads . . .

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Catching Up With The Love Language

"I'm stoked, man. Back at work after so long."

This is Stuart McLamb of the Love Language, standing on an L.A. sidewalk having just emerged from a barber shop. It's a relatively new surrounding for the North Carolina native who took Huck Finn's advice about a year ago and lit out for the territories. The impetus for our phone call is the first new Love Language record in five years. Baby Grand will see the light of day August 3rd on Merge Records, and it marks a sizeable change in McLamb's surroundings.

AD spoke with McLamb about what he's been up to since 2013's Ruby Red, writing and composing inside a defacto hammock factory, the way album ingestion can affect your own art, and how the new album's title has its own cheeky fit in the universe of the Love Language. Check out the video for the first single, "Southern Doldrums," down below.

Aquarium Drunkard: This is the longest time that has elapsed between Love Language records. What's been going on and what lead to that long of a break?

Stuart McLamb: Well, it's always kind of been me writing and doing it. I think maybe I just got a little -- maybe not burnt out, but you shouldn't just churn things out to just do it. It needs to come from a spot. So it took a while for me to rediscover my passion and have songs pile up that I thought were good. I spent hours and hours making demos, and there was a lot of stuff I just didn't feel was honest or real and ended up just scrapping them.

That was the deal with the Love Language, but I did stay busy with several other things. Right after the tour for Ruby Red, I mixed a record by a Chapel Hill band called Last Year's Men. It was a great record and they put it out, but they'd started a punk band right after that and it never went that far. So I spent a long time working on that and then I had a band called Soon. That was a band I did that was a bit more of a heavy thing. Put that album out. I did a record with a project called Pretty Ponies. Maybe it didn't seem like it in the public eye, but I definitely felt pretty busy. It probably does appear that way to people who just know me from the Love Language.

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Daniel Lanois :: Venetian Snares x Daniel Lanois

On their new collaborative album, Daniel Lanois and electronic composer Aaron Funk, better known as Venetian Snares, make for an unexpected "Canadian team." As a producer and solo artist, Lanois's work is dedicated to open, moody space; Funk, on the other hand, populates his soundworlds with near constant twitching and aggressive motion. But Venetian Snares x Daniel Lanois makes sense of this contrast, blending Lanois' slow motion, gospel-informed pedal steel with Funk's dramatic breakcore.

Often, the record recalls the soundscapes of Lanois' work with Brian Eno on 1983's Apollo: Atmospheres and Soundtracks, if that record's spacey ambiance had been punctuated by violent bursts of noise and rhythm. Employing a Miles Davis cut-up style, manipulating "yards" of live recordings, Lanois edited the album together. It's a testament to his restless creative drive and a daring listen. We caught up with Lanois in LA to ask how the strange team-up came about.

Venetian Snares x Daniel Lanois by Venetian Snares x Daniel Lanois

Aquarium Drunkard:  A few years ago, after recording an interview in your studio, you played us some of the music you were working with Venetian Snares on. I've been anxious to hear it since and it's turned out to be a wild record.

Daniel Lanois: Oh yeah, well we finally gave birth. [Laughs] It feels pretty good. I've been devoted to this for a while now, and I'll say to my friends, "By the time something comes out," by the time you get a release date from the label and all this, in a way, the creative peak has already happened. So I've actually moved on to some other work now, but hey, listen man, we're going on tour, Snares and I. I call [Aaron Funk] "Snares."

It's exciting. I feel like it's my first band. The  shows feel like, "Whoa, things are so psychedelic." I'm pretty thrilled about it because we can really pull this thing off live. He's really a master. We make a pretty good Canadian team.

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Mudie’s All-Stars :: Loran’s Dance

When a cover works. In this case, Mudie’s All-Stars Jamaican rendering of Idris Muhammad’s “Loran’s Dance.” I’m scribbling this on a train back to Tokyo after three nights haunting an array of Kyoto hi-fi kissas – mostly jazz, but not all. It was one of the latter, Rub A Dub, that turned me on to the below recording.

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Bola Sete :: Falling Stars

Nestled at the end of a recent installment of Deerhunter’s weekly, and highly recommended, “Sunday Night Radio Hour” Spotify mix, was Bola Sete’s “Falling Stars.” Previously unknown to us, the expectations were for a pleasant strum of acoustic guitar. We love Sete’s guitar playing here, whether it be the jazzy bossa nova sway that he mastered with a classical touch, or the immaculate, serene sounds of openness . . .

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Michael Rault :: The Aquarium Drunkard Interview

Michael Rault's new album, New Day Tonight, lends itself to repeated listens. It's not just that the Canadian musician continues to build on his distinctively retro-but-not-old sound, but the complexity and layering accomplished on the LP reveals something new with each listen. We caught up with Rault from his home in Montreal and got the lowdown on working hand-in-hand with Daptone and Wick Records, the long-but-fruitful gap between releases, and the fortuitous walk he took with producer Wayne Gordon to a Brooklyn music shop that ended up giving the record one of its signature sounds.

It's a New Day Tonight by Michael Rault

Aquarium Drunkard: Not to start too on-the-nose, but at times the record seems preoccupied with the dichotomy of night and day, and sleep in particular. Both in the title, some of the song titles, and the lyrics — and it’s even coming out on Sleepless Records in Canada… so to be frank, how do you sleep at night?

Michael Rault: Nothing particularly unusual happens to me when I sleep, I used to sleepwalk sometimes, I guess that’s unusual, but I don’t do that much anymore. I’ve always had this subconscious approach to writing music and writing songs — not to sound pretentious or like I’ve got any special method that I use, cause I don’t really. I tend to try to play things and come up with ideas and see what sticks without thinking about it too much. And then listening to what I sing, when I’m not really thinking about it, I start to see patterns and themes. Then I start to think more consciously and make sense of it without, maybe, making too much sense of it. I don’t want to kill it by organizing it too much.

I wrote “Sleep With Me” without really thinking about it at all. And it came together in a more cohesive way than most songs do. I think I sang the first verse and chorus and maybe second verse in pretty quick order. I didn’t think I was gonna make an album themed around sleeping, but the idea kept popping up in songs I was writing. As I started getting closer to finishing the album, I was coming up with a list of songs to concentrate on - I realized that sleep was a theme. I wrote a couple of more, consciously, about sleeping and dreaming to fill out the album. “Dream Song” was consciously written about it.

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Aquarium Drunkard Presents: Gospel Jubilee Vol. 2 — A Mixtape

Forcing someone to read a lengthy explication of the music found in the second installment of the Gospel Jubilee would only delay the experience of hearing — feeling — these heavenly, heavenly sounds. Over an hour of unbelievable falsettos, palpable bass lines, smoking–even Hazel-esque–guitars, fervid singing voices, chunky synthesizers, perfect drums, and much more . . .

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Ambient Explorations: Cool Maritime / Sam Gendel

Cool Maritime is the work of Sean Hellfritsch. A modular synth composer, he is the spouse of fellow modern electronic pioneer Kaitlyn Aurelia Smith, and shares her sense of ambient adventure in crafting exploratory soundscapes that reach beyond the tangible and into unseen worlds. His latest outing, Sharing Waves, due out June 1 via Leaving Records, is brought to life with shimmering ripples of aqua tones and a misty rainforest timbre. But the record expands beyond . . .

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