Christopher Owens :: I Wanna Run Barefoot Through Your Hair

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It’s been long enough. There’s no need to play coy, no sense in waiting any longer than we already have. I’ll state it plainly here at the top: this is the album we’ve been waiting for Christopher Owens to make for over a decade. I Wanna Run Barefoot Through Your Hair is an extraordinary, wholly unexpected achievement, as bold and beautiful and great as any one of the immortal Girls records.

It may, in fact, be better . . .

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Videodrome :: In Conversation with Sara Gran on The Legacy (1978)

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For a special "Halloween edition" of the VIDEODROME column, we sat down with author and screenwriter Sara Gran to discuss The Legacy (1978). It's a rollicking conversation about the film's impact on Gran's life and work, satanic cabals, psychoanalysis, and much more . . .

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Osees :: SORCS 80

John Dwyer Thee Oh SeesPosted on

No guitars! For his 28th album at the helm of the Osees, John Dwyer and a crew of art punk instigators switch to synths, samplers, drum machines and two saxophones. That’s a radical change, but it makes surprisingly little difference. If you know the Osees at all, you’ll recognize the sound immediately . . .

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Cass McCombs :: Seed Cake On Leap Year

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For an artist who ordinarily focuses on what’s next, Cass McCombs has been doing quite a lot of rummaging through the vaults lately. This collection of early, unreleased material comes out at the same time as the backwards looking 2000​-​2004 Demos, Live and Radio, which is to say the very beginning of McCombs emergence as an artist . . .

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Anaïs Mitchell :: The Aquarium Drunkard Interview

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There seems to be something downright mystical about everything Anaïs Mitchell does. With Bonny Light Horseman's Keep Me On Your Mind/See You Free, a double album and their third release to date, blends conversational songwriting and a cast of characters culled from our collective mythology to expand upon their already rich brand of storytelling and music-making. Anaïs joined us via Zoom from her family farm in Vermont . . .

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Prince :: Come

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“This is the dawning of a new spiritual revolution.” It was 1993. Prince had just announced his eternal rest. Well, metaphorically—though perhaps not entirely. Born from this turmoil was Come, an album that symbolically marked the passing of Prince’s former persona. The cover—stark in black and white—captured the artist poised outside the breathtaking Sagrada Familia Cathedral in Barcelona, casting an undeniably funereal tone that whispered of transformation and finality . . .

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Masayoshi Fujita :: Migratory

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Masayoshi Fujita says his music aims to evoke the skies and mountains of his native village of Kami-cho, Hyogo, in Japan. To some extent, they really do: the sedative vibraphones and marimba of Migratory, bundled as they are with a geographical tracklist, allow us to visualize the natural tranquility that is so often associated with a branch of traditional Japanese music . . .

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

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Tea lights. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.

34.1090° N, 118.2334° W . . .

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Unknown Happiness :: A Geographic Records Sampler

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When two members of The Pastels started the Domino imprint Geographic in 2000, the ethos was simple. "The idea was to release beautiful semi-unknown music from around the world and take it as far as we could". Specifically garnering an organic, collaborative spirit between Glasgow and Tokyo, the label reached the influential ears of the likes of John Peel, David Berman and Jarvis Cocker. From avant-pop ensembles and minimalist jazz to sun-soaked guitar soundscapes, here is a sampling of the singular spirit of the mighty Geographic catalogue . . .

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The Necks :: The Aquarium Drunkard Interview

The AD Interview The NecksPosted on

The Necks have created conditions for themselves as a band that embraces a constant pattern of departure and arrival. In the leadup to the release of Bleed, Aquarium Drunkard interviewed Lloyd Swanton (bass), Tony Buck (drums, percussion), and Chris Abrahams (piano, keyboards) of The Necks by email, comparing and contrasting how they work in the studio as opposed to performing live, the band’s decision-making process while recording, the mountains of live recordings in their archives, and more . . .

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Transmissions :: Jill Fraser

Jill Fraser PodcastPosted on

Synthesist Jill Fraser has lived a remarkable life in music: mentored by Morton Subotnick, she went on work in film and television, with projects like 1974's sci-fi fantasy Zardoz and Paul Schrader's 1979 film Hardcore to her name, in addition to a litany of commercials featuring her inventive sound design. In the '80s, she found herself on the outskirts of LA's thriving punk scene, and now, she's released a new album cum science fictional sacred saga, Earthly Pleasures, on the storied Drag City label. She joins us to discuss . . .

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Jim O’Rourke :: Fast Car (Live In Japan, 9/16/2002)

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Luke Combs this is not. Fourteen years after its initial chart-topping 1988 release, sonic chameleon Jim O’Rourke laid hands on Tracy Chapman’s “Fast Car” in 2002 while touring Japan. Where the original tracks just under five minutes, O’Rourke’s alchemy transmutes the iconic riff into a thirty-three minute atmospheric drone. In a word, hypnotic . . .

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Anna Butterss :: Mighty Vertebrate

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It's tempting to describe what bassist Anna Butterss and their Los Angeles colleagues are up to as "redefining jazz," but that assumes jazz had a solid definition in the first place. In the 21st century, jazz continues to elude classification, with a resurgence of interest in old, previously overlooked and underappreciated material and the appearance of a new cadre of adventurous, genre-fluid players. But Mighty Vertebrate is a different beast. Neither improvised nor manipulated, begun as through-composed songs but later expanded upon and spun out, it's groove-heavy, lyrical and spacious, with an energy that feels . . .

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Hataałii :: The Aquarium Drunkard Interview

Hataalii The AD InterviewPosted on

There's a sign on the cover of Hataałii's Waiting for a Sign, bearing the words "authentic real deal." It's the kind of billboard familiar to anyone who's driven through the large swaths of Native-held land in the American Southwest. Signs hocking goods, promising hearty meals, beckoning you off the road and into some cafe, trading post, or casino. But that's only scratching the surface. He joins us for a conversation to dig deeper . . .

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Wendy Eisenberg :: Viewfinder

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Wendy Eisenberg contains multitudes. You would be hard pressed to find formal commonalities between the deconstructed bedroom folk of Time Machine (2017), the tender improvisations of Auto (2020), or the banjo freakouts of Bent Ring (2021). Sure, there is that same brightness of the vocals; the felicitousness of the cadences; the centrality of the strings. Yet all of this seems to serve new functions every time, and every time to impose a turn in their way of composing that was previously impossible to predict as a listener . . .

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Posted on Wendy Eisenberg