My friend Thomas hipped me to this track earlier today. It's been on repeat since. The vibe is early 80s melodic post-punk crossed with a nice dose of ambient new wave and ennui. Eddie The Wheel is the project of Eddie Whelan, based in Athens, GA. "Nearsayerfive" is culled from his new EP He's A Scream.
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Today's confection: Margo Guryan's 1968 platter of orchestral pop, Take A Picture. We've waxed on Guryan's excellent 25 Demos collection here in the past, but Take A Picture further succeeds in taking the singer-songwriter and placing her compositions within a smart pop context not dissimilar from . . .
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“Once Bill was making extremely forward statements from behind a veil. Now he’s making veiled statements from a forward position. He’s fundamentally the same person, but stylistically almost everything has changed.”
The above quote is pulled from last Friday's New York Times piece on Bill Callahan. Quoted is Rian Murphy, former bandmate and office manger of Callahan's longtime label, Drag City Records. The Times piece itself is . . .
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Reheated vinyl rip of Grant Green covering the Meters' "Ease Back" off the 1969 Carryin' On LP.
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Via Autumn Tone, we're releasing Dirty Gold's debut EP, Roar, today. At five tracks, the EP is a set of shimmering beachside pop, here just in time for the change in season. Get a taste, below.
MP3: Dirty Gold :: California Sunrise
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(Diversions, a recurring feature on Aquarium Drunkard, catches up with our favorite artists as they wax on subjects other than recording and performing.)
One cannot overstate the power of regionalism. Growing up in Georgia, in a rather musical household, I assumed the music of Eddie Hinton was as well known as, say, that of Sam & Dave. It wasn't until I began to discover this music for myself, years later, that I . . .
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I've been catching up on Ethan Miller's blog, Silver Currant, over the past couple of months. Sporadically updated, Miller, who fronts Howlin' Rain, presents a treasure trove of homemade psych compilations (and more) geared toward the obscure and out of print. All very much worth checking out if that sort of thing does it for you (as it should).
Amongst the various digital download booty there is a link Ethan shared for a Howlin' Rain joint called . . .
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An inherited copy, on wax, of Ray Charles' Live In Concert has been in my regular rotation for years. Last month I read (via the LA Times) that the classic set was finally seeing a CD release. The following bit further grabbed my attention: "The original 12-song LP, which peaked at No . . .
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Our weekly two hour show on SIRIUS/XMU, channel 26 (SIRIUS), and channel 43 (XM), can now be heard twice, every Friday - Noon EST with an encore broadcast at Midnight EST.
SIRIUS 188: Jean Michel Bernard - Generique Stephane ++ Family Portrait - Other Side ++ Kurt Vile - Hunchback ++ Akron/Family - So it Goes ++ Grizzly Bear - Cheerleader ++ The Morning Benders - All Day Daylight ++ Cass McCombs - Dreams Come True Girl ++ Tunde Adebimpe :: Unknown Legend ++ Devendra Banhart - Bad Girl ++ Bon Iver - Stacks ++ Fleet Foxes . . .
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File under awesome. 1973 no-frills, no bullshit, cock rock. This is Zipper---Fred Cole and company's sicko American twist on Zeppelin and Black Sabbath.
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Speaking of western Africa...here's a set I've been sitting on since December---Psychedelic Aliens, Psycho African Beat. A funky, early 70s, Ghanaian psych-soul collection culled from a mish-mash of tracks destined to labor in indefinite obscurity prior to the entry of the Academy Records gang. Released at the tail end of 2010, the collection gathers up eight tracks sounding something like a garage-rock inflected Meters as filtered through Fela's transistor radio. Dig.
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. . .
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Led by Evan Brody, Ridgewood, NJ's Family Portrait hooked me in 2009 with the hazey/fuzzy milieu of "Mega Secrets" prior to gigging at our inaugural Waved Out fest, last spring, here in LA. This week saw the release of the band's eponymous debut, the self-titled become a member or log in.
(Welcome to latest edition of A Soundtrack Enthusiast. Our latest entry comes courtesy of our friend John Gleason, of Roadside Graves, as he reflects on the music that framed 1990's Pump Up The Volume.)
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The only tape my father ever cracked in half was the soundtrack to Pump . . .
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After listening to Stephen Wilkinson’s album teaser a few months back---every track crammed and cut up into a two-minute psychedelic loop-a-thon---I anticipated a version of Ambivalence Avenue that was far more vivid, bouncy and song-oriented. It was an exciting taster of a preview that stoked fires and excitement in fans, and especially this writer. Not only because it sounded so promising but also because Ambivalence . . .
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