27 years after her debut, Kathleen Edwards revisits Failer and early songs she barely recognizes, tracing the strange path back through musician-producers, a covers project born of the algorithm, and relearning how to believe what you sing . . .
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Resurrected by Woodsist for a fresh and full-fledged release, In Another World is the lovely debut record from Ruby of Thanks, nom de plume of Kingston, NY-based musician and jack-of-all-trades Andy Weaver. With unique and breezy percussion provided by drummer Otto Hauser, these are eight harmonious folk ballads subtly layered with a rush of a languid art-pop atmosphere. With a synergy in line with the auxiliary worlds of a Little Wings or John Andrews, Weaver's songcraft is adjacently warm and melancholic in its thematic exploration . . .
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Las cúpulas. 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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Masayoshi Takanaka’s All of Me, originally issued in 1979, gathers material from the guitarist’s early solo run into a remarkably fluid sequence. Reissued for 2026 Japan Record Store Day and newly remastered at Abbey Road, the collection still moves with startling ease: polished AOR, tropical fusion, bossa drift, and instrumental pop unfolding in long, sunlit lines . . .
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Released in 1981 on Re*ac*tor, “T-Bone” is perhaps the most boneheaded, monomaniacal tune in Neil Young’s entire discography, a grinding, nine-minute three-chord Crazy Horse jam that features only these words to guide us: “Got mashed potatoes, ain't got no T-bone.” Our guest today is far from boneheaded, however. Matthew Specktor is a novelist, a memoirist, a critic, a screenwriter, an editor and much more . . .
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Via their 1983 album Tercia, Uruguay’s Contraviento drift quietly through “Desencanto,” where guitar, woodwinds, and voice dissolve into an unhurried acoustic haze. Harmonic movement stays restrained and peripheral, allowing the track to hover in an open-ended hush. Delicate and unforced, it passes through almost weightlessly, more akin to something briefly overheard than performed. Perfect . . .
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Emblazoned with the conquering lion draped over the band’s moniker somewhere between menace and repose, The Light of Saba is a rootsy and righteous blend of reggae, nyabinghi rhythms, and free jazz rolled up and sparked by the flames of Rastafari mysticism. Recorded in 1974, the album is the nexus of the musical and spiritual philosophies of Jamaica’s own heavyweight saxophone colossus, Cedric IM Brooks. Over the course of his career, Brooks divined a sound that combined Jamaican musical traditions and jazz that stood on its own ground amid the full bloom of reggae and dub in the . . .
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“I get asked to play more music like This Heat, but to my knowledge there is no other music like This Heat” - John Peel
For 37 years, John Peel worked as a conduit, pulling unheard voices out of the static and setting them loose across the BBC dial. In 1977, one of those voices was This Heat, formed just a year earlier in a Camberwell rehearsal space. Frayed at the edges, with clipped rhythms pushed straight to broadcast, they didn’t sound like a band adapting to a Maida Vale studio so much as one ignoring the usual expectations of . . .
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Built from repetition, negative space, and instinctive interplay, there’s something fitting about The Sleeves taking on CAN. Coupled with the twisted wild card of their cover of early-’00s British girl group Sugababes, this Lagniappe Session feels less like a set of covers than a slow dissection, with Jack Cooper and Tara Cunningham pulling the songs apart until only fragments remain . . .
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Three years and as many live albums have passed since Setting’s debut album. In that time, the trio of Nathan Bowles, Jaime Fennelly, and Joe Westerlund have sharply fine-tuned their form of exploratory electronic Appalachian drone music, and their new, self-titled album finds them on a heightened plane. The chemistry built between these three players over the last few years comes alive here in an even richer hue of their cosmic arboreal vision . . .
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With a mere three days in a Nashville studio and consummate Dylan producer Bob Johnston, the rugged yet sunny placidity of Moby Grape shone through on the band's ignored 1969 relic Truly Fine Citizen. Reduced to a trio after the departures of both Bob Mosley and Skip Spence, the songwriting of Peter Lewis takes the reins in a savvy and fragmentary guitar effort, with "Looper" dating back to their classic 1967 debut. To keen ears, the gems of such understated songwriting will recall similar contractual obligation efforts in the vein of Buffalo Springfield's Last Time Around . . .
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I'm People represents the beginning of a new era for Hiss Golden Messenger. The new project finds songwriter MC Taylor presenting a set of songs dedicated to, as he puts it in the album's biography, "Truth, lies, magic, faith.” It's a potent combo, and I'm People presents Taylor and his collaborators at his most refined, taking all the things that have made Hiss Golden Messenger recordings work so well in the past—country rock shuffles, indomitable boogies, soul and R&B flourishes, and heartland pop—and melting it all down to its core. We caught up . . .
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King Tuff’s Kyle Thomas reached back into his own past to make MOO, resurrecting an old Tascam 388 and dusting off a road-tested Gibson SG, even moving back to Vermont to shed the glitz of LA for the woolen-sweatered homeyness of his native Brattleboro. Funny thing, though. In rummaging through his own history, he tapped into a larger, longer narrative, making a raucous, rough-hewn country rock record that wouldn’t have been out of place in the mid-1970s . . .
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Written in 1979 and premiered in 1980, Gay Guerrilla is one of the best examples of Eastman's proto-minimalist compositions, made up of drones and phasing loops that gradually go in and out of sync to produce a hypnotic convergence of texture and timbre as he craftly modulates tempo and formal structure . . .
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Jerry David DeCicca returns with another set of records you can score for a dollar—including selections by Larry Hosford, George Benson, Roy Buchanan, and more. Plus, he responds your Dollar Diamond DMs . . .
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