Wandering through the freakier terrains of psych folk, math fusion and afrobeat/chimurenga, if earlier Cambriana sounded anglophilic in its attempt at 'universality', now - as international indie seems itself closer and closer to MPB - Cambriana sounds more Brazilian than ever . . .
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Panamá 77, the debut album by Panamá-born, Chicago-based drummer and DJ Daniel Villarreal, arrives right on time—emitting earthy and humid spiritual jazz. Freewheeling and unmoored by genre, Villarreal and his cast of collaborators, all of whom helped compose the tracks they play on, revel in an improvisatory spirit which transcends the overdub and post-production elements of the recording process, resulting in something that feels truly organic and alive . . .
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With the help of pedal steel player Kurt Newman, Badge Époque drummer Jay Anderson, and producer Sandro Perri, Senior fleshed out fingerstyle instrumentals into a beaming ray of sunshine sound. He pays tribute to the late Harry Dean Stanton, plays one for Doc Dunn himself (present in name and spirit, even if not on these sessions), and stretches out for a blissfully meditative journey on 11-minute closer, “There’s Nothing I Like More Than Anything Else . . .
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Michael Coomers' Lace Curtains returns in 2022 with a new collection, Just Like In a Movie. You may recall Coomers from Harlem, that rubber band ball of a band whose infectious, washed-out sound evoked The Clean’s Boodle Boodle Boodle, yet felt at right at home within the mid-to-late '00s garage scene . . .
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When improvisor Bill MacKay spoke with Aquarium Drunkard before, he evoked the dim of the movie house in his work. "Cinema's always been important, and music that has that cinematic edge to it especially interests me. I think a lot of the things that have hit me really heavily have some of those filmlike qualities to them." Now American Dreams Records releases Movie House | Sala de Cine, a book of poems from Bill MacKay. The noted Chicago musician wrote in English and then translated each to Spanish, with editorial assistance from Luis Jorge Boone. Today, AD presents "Oddly colored . . .
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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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Toulouse based singer, songwriter and multi-instrumentalist, Julien Gasc, returns in September with the release of his fourth solo album, Re Eff. “Qui est cette femme qui danse tout autour de mon corps?” inquires Gasc on “Amour Velours”, the first taste from the forthcoming lp . . .
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Sharon Van Etten’s sixth full-length, We’ve Been Going About This All Wrong, is, like much of the music being released this year, a pandemic album, reflecting a long, contemplative couple of years that Van Etten spent in Los Angeles with her family. But even during lockdown, she wasn’t alone. Band members and fellow musicians reached out to her. Collaboration flourished . . .
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Bubbling under the surface of the gently thoughtful music that populates Dana Gavanski’s new record When It Comes (Flemish Eye) are hints of darker emotions, expressions of frustration both transformed and averted, of the same mind as Cate Le Bon’s avant-pop and Linda Perhacs’ kaleidoscopic folk . . .
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Today on our weekly Transmissions podcast, Jeff Cloud of Velvet Blue Music. Known for his work with Pony Express, Starflyer 59, and Richard Swift, Cloud has run VBM with a deep blue collar ethic and joins host Jason P. Woodbury to discuss his time playing music, the influence of David Lynch, and much more . . .
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1975's Wolf Guy: Enraged Lycanthrope defies categorization. It’s not that the film is confused; it simply doesn’t care to fit into a box. Throughout its brisk eighty-six minutes, it weaves in and out of elements of hardboiled thrillers, superhero flicks, espionage conspiracies, paranormal occultism, sleazy soft-core porn, and pulpy noir. It’s a chaotic piece of pop-art, filled with surreal lighting cues, vibrant dutch-angles, and bursts of ultra-violence and sexuality, bursting at the frames with a kind of kitschy, hyper-stylization usually reserved for comic books . . .
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If you had to pick one album that encompasses the awesomely eclectic nature of Yo La Tengo’s vision, 1997’s I Can Hear The Heart Beating As One is your best bet. It’s got it all (almost), careening from crunchy noise-pop to spacey ambient, from free-form experimentalism to delicate balladry, from homespun electronica to blown-out Beach Boys covers. Somehow, the band fits all these puzzle pieces together, creating a masterful whole. The double LP’s closer aside, this isn’t a little corner of the world, it’s an entire galaxy . . .
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We recently caught up with Spencer Zahn whose new album, Pale Horizon, dropped last week via Cascine. A multi-instrumentalist whose varied output touches on jazz and piano-based works, for this installment of Diversions Zahn dives deep into the works of fellow traveler, Keith Jarrett . . .
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Weird times, strange signals. Reverberating from the hills of Glassell Park, California, welcome to episode eleven of the Aquarium Drunkard Picture Show.
Feat: Karen Small | Emy Jackson and the Smashmen | Los Surfs | Heinz | The Guilloteens | The Revels | Les Classels | Kemeko Matsudaira | Royals Monarchs | The Tarantulas | Crazy Elephant | Re Maik | Los Rockin Devils . . .
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For her Lagniappe Session, Johanna Samuels looks back, calling on nostalgic childhood sounds. There’s Dylan’s “Simple Twist of Fate”, the Beatles’ “Yes It Is”, and The Only Ones (by way of Yo La Tengo) “The Whole of The Law”. All careful, attuned, and respectful interpretations . . .
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