Via satellite, transmuting 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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São Paulo’s Tim Bernardes swept us off our feet earlier this month with his new album, Mil Coisas Invisíveis. Across fifteen tracks sung in beautiful, tender Portuguese, he mines love, loss, and change with equal splendor bringing his diaristic existentialism to vibrant sonic life. For his inaugural Lagniappe Session, Bernardes keeps the flame aglow, tackling one from fellow countryman Gilberto Gil's 1971 self-titled album, the Dirty Projectors' knotty, Tropicália-tinged art rock, and one of The Beatles’ most spiritually mystic moments . . .
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As leader of The Hold Steady and a solo artist, Craig Finn specializes in unlikely redemption stories. His latest is called A Legacy of Rentals. Like his best work, it traces the lines of down and out characters, imbuing them with humanity and inner drama. He joins Jason P. Woodbury to discuss it, his new podcast, and much more on this week's episode of Transmissions . . .
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A simmering rendition of Gilberto Gil’s “Duplo Sentido". The first of only four sides recorded by Brazil’s Tetê Da Bahia, between 1974-75, finds the chanteuse throwing the drifting, folky hue of Gil's original out the window of a speeding car before heading into a dimly lit tunnel of dream logic and psychic dislocation . . .
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However one chooses to interpret the thematic message, part of Tetsuo’s lasting endurance is that it can be enjoyed on a purely visceral level. If you tear away all of the percolating themes, Tetsuo is a pure emulation of the sci-fi and horror content Tsukamoto grew up watching and reading. It’s a love letter to the kaiju films of Toho Studios as well as a continuum of Japanese horror; ironically dubbed “the most metal film ever made . . .
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Welcome back to the stacks. It’s Aquarium Drunkard’s Book Club, our monthly gathering of recent (or not so recent) recommended reading. This month: the proto T-Rex lit of Marc Bolan, a regional love letter to the art of the concert poster, a deep dive into Dilla’s unique time feel, mid-80s Charles Portis, James Calvin Wilsey's lonesome noir guitar, and a look into the rise of Warner Bros. Records . . .
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Absolute homegrown ephemera gold courtesy of a 1972 Germany documentary which finds Neil Young in a honey slide haze on his fabled Broken Arrow Ranch, work-shopping “Out on the Weekend” (endearingly amused by his own lyrics), and hanging with Elliot Roberts, the fellas, the dogs, and the cows . . .
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Under the name Travesía, the trio of Estela Magnone, Mariana Ingold, and Mayra Hugo graced a handful of albums that defined the direction of Uruguay's music coming out from under a dictatorship in the early 1980s. In the trio’s short lifespan, though, they released only one album--1983's Ni un minuto más de dolor, the first Uruguayan record performed and arranged entirely by an all-female group . . .
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Taste the whip. Captured in January 1972, a year and half following Lou Reed's hard exit from the Velvet Underground, we find ourselves at Le Bataclan theatre, Paris, France. The occasion marked a semi-impromptu reunion of the former VU bandmates. For a night, anyway . . .
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The past few years have seen Neal Francis carve out his name with an incendiary live show and a refreshingly well-schooled, analog-obsessed interpretation of 70s soul. His dry tenor has been compared to that of Allen Toussaint, and the late maestro would certainly approve of Francis’ keyboard stylings, as well as his affinity for billowing grooves and charged arrangements . . .
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A celestial nocturne, Estrela Acesa is the sophomore stunner from Sessa. It’s been three years since the São Paulo-born singer-songwriter dropped his perennially stellar debut, Grandeza—a jubilant, sun-dappled LP embodying a confluence of Brazil’s rich past and musical traditions. But where Grandeza was an ode to temporal pleasures, Estrela Acesa is a humble meditation on the nature of love, eternity, and the point of intersection between music and spirit . . .
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'70s dub/reggae especial. 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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The awareness of our own mortality is a blessing and a curse. This isn’t a new idea, and it’s one that we’ve seen reflected time and again in art. While catalysts vary, for Kevin Morby it was witnessing the sudden collapse of his father at a dinner. Thankfully his dad survived the incident, but much in the same way that just seeing parents, or ourselves, get older can send us down that spiral staircase of mortality, Morby turned his thoughts inward . . .
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"He was looking forward to playing Israel," writes Leonard Cohen's biographer Sylvie Simmons of the songwriter's first tour of the Holy Land in 1972. "He was terrified of playing Israel . . .
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A folk singer, a dreamer, a soul. On his newly released sophomore album, Mil Coisas Invisíveis, São Paulo’s Tim Bernardes brings his diaristic existentialism to vibrant sonic life. Whether accompanied with just his guitar, or surrounded by handclap percussion, swelling string arrangements, and muted woodwinds, he stakes his claim as a graceful and earnest chanteur, joining the ranks of fellow countrymen Jorge Ben, Caetaneo Veloso, and Clube da Esquina . . .
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