Lael Neale Wades Into Wild Waters

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“I once followed blindly but now I can see,” Lael Neale intones on her fourth record–and third in the space of a fruitful five-year period–Altogether Stranger. This is one of many revelations and reflections on her return to Los Angeles having spent several years away from its stifling chaos in the respite of her family’s farm in rural Virginia. The songs astutely capture this internally fraught period with colloquial eloquence. Altogether Stranger simultaneously confronts the relentless noise of city living and provides a much-needed sanctuary away from it through its comforting intimacy. Neale’s latest . . .

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People Whispering, Or The Strip Mine On The Other Side of The Mountain :: The Experimental Folk of North Carolina’s Magic Tuber Stringband

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Magic Tuber Stringband is one of the most arresting outfits to emerge from the American folk tradition in the last five years. While they spring from North Carolina’s venerable old-time music tradition, they are experimentalists, deeply engaged in the methods of free jazz improvisation pioneered by Marion Brown and Don Cherry, and the minimalist strategies of postwar composers like Pauline Oliveros and Terry Riley . . .

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Florist :: The Aquarium Drunkard Interview

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Emily Sprague knows the end is coming. It’s inevitable and always has been, no matter how good or bad things get. The finite isn’t a source of anxiety for the singer/songwriter, but a catalyst for wonder. Jellywish,, the new LP from Florist, serves to promote “how awesome it is that we basically don't exist in the grand scheme of things,” according to Sprague. Rather than being a cause for nihilism, it’s a reason to make the world a better place, to tune into the quiet wonder of the day-to-day, to live authentically . . .

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Lotti Golden :: Motor-Cycle

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Lotti Golden was just 16 when she landed her first professional songwriting gig, earning a hundred dollars a week from Bob Crewe’s Saturday Music. The uneasy but intoxicating mix of raw energy and sophisticated orchestration defined Motor-Cycle, one of the late 1960s oddest and most powerful forgotten discs. This reissue by High Moon incorporates that original album, plus a now hard-to-find Atlantic single that featured two non-album tracks . . .

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Mood Stabilizers: The Post-Rock Era, 1993-2002 (A Mixtape)

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We've had post-rock on the brain lately. New music from genre pioneers Tortoise and the prospect of a North American tour by Stereolab this fall, not to mention recent archival releases by the likes of Aerial M, Gastr del Sol and Seefeel have many of us revisiting the sound's 1990s salad days. For those wanting more, we've compiled a mixtape of some three hours of the genre's knottiest groove logistics. For the uninitiated, here's a crash course in what the end of the twentieth century sounded like . . .

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Intercommunal Free Dance Music Orchestra :: Après La Marée Noire – Vers Une Musique Bretonne Nouvelle / Jo Maka

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Parisian-based Souffle Continu Records continue their gracious excavation of the catalog of the Intercommunal Free Dance Music Orchestra, the “people’s jazz workshop” created by French jazz pianist François Tusques. Following last year’s reissues of 1978’s L’Inter Communal and 1983’s Le Musichien, come releases of two more equally spirited documents from the same period – 1979’s Après La Marée Noire - Vers Une Musique Bretonne Nouvelle (After the Oil Spill - Towards a New Breton) and 1982’s Jo Maka . . .

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In The Spiritual Kingdom Of Love :: Robyn Hitchcock Dissects The Soft Boys’ Underwater Moonlight

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Forty-five years after it was first released, the Soft Boys’ Underwater Moonlight sounds better than ever. The glorious chime of Robyn Hitchcock and Kimberley Rew’s guitars, the buoyant rhythm section of drummer Morris Windsor and bassist Matthew Seligman, the interlocking vocal harmonies, Hitchcock’s surreal and bewitching lyrics … it all adds up to a bona fide masterpiece.

To dive deep into the stories behind the songs, we went straight to the source. Below, Robyn Hitchcock walks us through the album’s 10 tracks . . .

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Transmissions :: Yuka Honda

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This week on the show, the great Yuka Honda. She’s a New York musician. In the 1990s, she emerged from the fertile New York music underground with Cibo Matto alongside groups like the Beastie Boys, Sonic Youth, and Luscious Jackson. She’s collaborated with an extensive roster of musicians, including John Zorn,David Byrne, Yoko Ono, Sean Ono Lennon, and her husband, guitarist Nels Cline. Earlier this year, we taped the conversation you’re about to hear. Some of it ran as text in the Across the Horizon zine that was available at Big Ears Music Fest. In this . . .

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Aquarium Drunkard Presents: The Hard Quartet, Teragram Ballroom | May 3, 2025

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If you missed the gig downtown when the record dropped last fall, now is your shot. The Hard Quartet once again touch down in Los Angeles May 3rd at the Teragram Ballroom. We have five pairs of tickets saved for AD members. Click the link to land a pair . . .

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THiQ :: The New Cats

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With his solo Paint project, Pedrum Siadatian has been steadily inching out of the Allah Lahs’ gritty, fuzzy, sweetly disruptive garage aesthetic and into cleaner, synthier, electro-fired dance music. Now with the Montreal producer and Sheer Agony frontman Jackson Macintosh in tow, THiQ pushes further into electronic grooviness. Day-glo fantasies of synth and keyboard open up like a psychedelic curio cabinet, with tableaux after tableaux of anime flavored hyper-realities . . .

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Max Knouse :: Mint and Tobacco

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Chipmunk’d Away is Max Knouse’s third album. Known for his sessions and live shows with artists like Califone, Jolie Holland, Adan Jodorowsky, Psychic Temple, Simon Joyner, Alex Dupree, and others, Knouse has established himself as an essential factor in the West Coast indie pop underground, brandishing guitar chops that mirror the rawness of his voice; he treats his instrument like a divining rod of spiritual tension and joyful racket, pushing and pulling on it with affection and sometimes something darker . . .

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The Pennys :: S/T

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The Pennys distills romantic garage pop to wistful essence, the chiming guitar lick, the rattle of tambourine and the plaintive whispery melody. The Oakland duo is comprised of two low-key but excellent mainstays of the Bay Area scene. RE Seraphin came up in Apache and the Impediments but lately has been spinning out a string of bittersweet solo discs. Mike Ramos is known for his lo-fi but gemlike work with Tony Jay, Cindy and Flowertooth. Together they put together six songs, all relatively concise but in no particular hurry, all with the unfussed grace and shifting moodiness of . . .

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Bandcamping :: Spring 2025

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We’re somehow barreling our way through 2025, time speeding up as spring’s renewal comes around again. The future is unknown, but music keeps us sane, humanity at its best. With another Bandcamp Friday hitting on May 2, check out a few recent recommendations below. Fill up your cart and keep on dreaming . . .

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PJ Harvey :: To Bring You My Love at 30

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Harvey made To Bring You My Love at the age of 25. The album was her third full-length, and the first to explore a career-spanning collaborative partnership with Jon Parish. Other musicians contributed, notably Bad Seeds veteran Mick Harvey, drummer Jean-Marc Butty and Joe Gore, but the album takes it shape from the fluid interactions of Harvey and Parish, often both of them playing guitars at once . . .

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Teo’s Bag: Constructing Bitches Brew

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55 years on, Miles Davis’ 1970 opus, Bitches Brew remains as mind-bending as ever, but its most enduring influence may lie in its innovative construction. A deeper look at Teo Macero’s methods and madness, paired with a 2-hour collection of unused session reels expands its universe . . .

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