Ferkat Al Ard :: Oghneya

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Oghneya is one of the most interesting recent additions to the impressive catalog of Habibi Funk, a label that aims to circulate Arab funk and soul records from the 1960-80s to a global audience. Originally released in 1978 by the Issam Hajali-lead Lebanese trio Ferkat Al Ard, the record maintains the modes and melismas so associated with Arabic music while entertaining cinematic orchestral arrangements within a pop psych-folk compositional framework . . .

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Bandcamping :: Autumn 2022

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With a welcome chill in the air and a fresh Bandcamp Friday hitting on November 4, it’s time for one more 2022 edition of AD’s Bandcamping, filled with recent & recommended sounds. Fill up that cart and find some new favorites . . .

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The Lagniappe Sessions :: Scott Hirsch

Lagniappe Sessions Scott HirschPosted on

Scott Hirsch dons a number of hats: singer/songwriter/multi-instrumentalist/producer. Based in Ojai, CA, where he mans Echo Magic studios, the multi-hyphenate artist joins us for his second Lagniappe rodeo following up his 2019 session. While that installment found Hirsch reconfiguring the likes of Dire Straits, Dylan and Commander Cody, the following focuses solely on the sonic wizardry of one space cowboy, Steve Miller . . .

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Little Mazarn & Lou Turner :: In Conversation

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Lindsey Verrill of Little Mazarn and Lou Turner connect to discuss their new records, Dairy Queen, and creating "enough wiggle room for the slipper to fit someone else who might want to be the protagonist . . .

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

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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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John Zorn :: The Gift

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The genre known as exotica stands just next door to a number of considerably better respected musical forms. Speed up that reverbed guitar and you’ve got surf. Slow it down and you’re in the spaghetti western territory of Ennio Morricone. With a good deal more distortion and chops, you’ll be at spitting distance from acid rock. With a fleshed out jazz instrumentation and an expanded improvisational element and you’re not too far from the early Sun Ra. Perhaps this is what drew the American avant-garde saxophonist, composer and impresario John Zorn to it . . .

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Transmissions :: Sam Cohen

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On Slow Fawn, Sam Cohen, a producer, songwriter, and musician known for his work with Apollo Sunshine, Yellowbirds, Kevin Morby, Danger Mouse and Karen O, creates a glowing, meditative space. Inspired by Terry Riley and drawing from long jam sessions with his collaborators, it reflects Sam's desire to "create a world without friction, where you could float and feel joy . . .

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Gold Dust :: The Late Great Gold Dust

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Gold Dust spins out gossamer trails of folk rock, a whipped cream daydream of cosmic cowboy reveries that may remind you of the Beachwood Sparks or Garcia Peoples, depending how hard Stephen Pierce happens to be knocking it out just then. A veteran of the Western Mass musical universe, these are wistful, effervescent clouds of misty sunshine, pierced at times by Beatles-psych twang (not a sitar, but maybe wishes it were) and grounded, often, by surprisingly heavy, dirge-y thwacks on the fours . . .

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FX :: Things Are Not What They Seem

American Dream Reserve FXPosted on

We’re digging the America Dream Reserve compilation, recently released via the Santa-Cruz based reissue label and archival project, Smiling C. Compiled by record collector Charles Bas, it comprises sixteen tracks of private press, home-recorded American country, folk, soul, lounge, disco, and beyond, all dripping with drum machine, synths, and lonesome bedroom pop vestiges. FX’s “Things Are Not What They Seem” has been a particularly choice cut of late . . .

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John Cale :: Rond Point, Marseilles, France, April 12, 1975

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The mighty John Cale has re-emerged — he's touring Europe as we speak and has a new LP coming out early next year (You can check out the Weyes Blood-assisted "Story of Blood" now). In the meantime, let's go back to the mid-1970s when John was just getting going as a touring act. He’d obviously played live plenty before, but following the release of 1975's Slow Dazzle, he really leaned into being a traveling musician . . .

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CAN :: Soon Over Babaluma

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Soon Over Babaluma is a satellite moon in CAN’s oeuvre, perpetually orbiting the seismic mass of the music they created between 1969-1973, one last psychedelic excursion before transitioning into the tighter arrangements and slicker production of the mid-late 70s. CAN was floating ever deeper into space, fresh off the gravitational break achieved on Future Days. Recorded on the heels of Damo Suzuki’s departure, Soon Over Babaluma marked both the end of era and a reinvention of everything the CAN had been working toward— the deepening of a sound that was still hurtling toward the outer reaches . . .

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SOYUZ :: Force Of The Wind

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SOYUZ's Force of the Wind is an imitation of the Brazilian Clube da Esquina scene of the 1970s, in the sense that it adheres to certain aesthetic principles and compositional signifiers associated with that group. It even explicitly names its models: Milton Nascimento, Lô Borges, Burnier & Cartier, Arthur Verocai. Yet it's clear that any appropriation of Brazilian music is careful and loving, as Alex Chumak wants to not only pay homage to the 1970s MPB that fascinates him, but to play with its grammar, extend it, renovate it. To sound Brazilian yet not Brazilian, as he explains . . .

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Aoife Nessa Frances :: Protector

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At the start of 2020 Aoife Nessa Frances initiated the new year with her psych-folk debut, Land of No Junction. Misty vocals, expansively intricate guitar work, gauzy strings, and mellotron washing over hazy production cemented her a spot as one of the most promising artists of a new decade. On Protector that prediction holds up. Frances has created an album of down-tempo pop music that retains the psychedelic leanings of her first LP. The vocal work of the Irish songwriter remains serious and solemn, but the work put into the arrangements of the tunes seem to signify a . . .

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June McDoom :: The Aquarium Drunkard Interview

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"I grew up only listening to reggae music. And for a long time, I felt like that was really outside of my musical identity." June McDoom joins us to discuss her new reggae-inflected collection of psychedelic folk . . .

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Deadline Paranoia 3/3 :: Cappadocia

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Released by Ongehoord, Deadline Paranoia 3/3 is the last of three compilations by the 1980s Amsterdam-based outfit. Jeroen Vermandere, who runs the label, discovered these hauntingly timeless recordings while pouring over the Dutch 1980s cassette scene. I’ve been obsessed with this release since first hearing it, and I think Vermandere puts it best in his description of the newly-rediscovered group when he says the recordings embody “a sensitivity towards the spiritual placed alongside anarchic violence . . .

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