From his home in Tokyo, Cornelius joined us to discuss the ethereal qualities that make up his current material, his longtime admiration for The Durutti Column, looking back on breakthrough album Fantasma, the Kraftwerk-inspired visual components that augment his live performances, and much more . . .
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Hölderlin remains a footnote in the greater Kosmische tome. Like many of the Kraut canon’s lesser-knowns, Hölderlin’s legacy and overall impact would be marked by sporadic line-up changes, discrepancies in sound and direction, and even lawsuits. Their reputation is further shrouded in the fact that the group, along with big-timers Klaus Schulze and Manual Gottsching, were key parties to the eventual falling out and demise of Rolf-Ulrich Kaiser and his Pilz and Cosmic Couriers label. Sensationalism be damned, prior to the drama and tumult that would follow, Hölderlin managed to lock . . .
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Efficient Space, the label that heroically issued this compilation, defines the songs it gathered as "confessional loner folk, devotional song, civil rights activism." I would suggest it is much more. Like Harry Smith's Anthology of American Folk before it, Someone Like Me offers a glimpse into the transcendental sprouts in the salt of the earth, this time by way of alien americana and abstract, out-of-time lo-fi . . .
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Pacific bivouac. 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 Parisian label Wewantsounds delivers yet again with Funk Tide – Tokyo Jazz-Funk from Electric Bird 1978-87, a compilation surveying the Japanese jazz label’s ferocious first decade, culled by the Tokyo-based DJ Notoya. The eight tracks within, many of which are seeing their first release outside of Japan, comprise a bonanza of fusion, city pop, smooth soul sounds, and beyond . . .
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2024 marks 20 years of Wilco's current lineup, and the band is celebrating with another installment of their Solid Sound Festival and a new EP, Hot Sun Cool Shroud. Band leader Jeff Tweedy joins host Jason P. Woodbury this week to discuss the fest and the absurdities of life in a band . . .
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Marina Allen's Eight Pointed Star brings back her light fusion of indie rock and Americana, evoking the folk revival of late '60s icons like Joni Mitchell and Karen Dalton as much as it does present-day peers Dana Gavanski and Andy Schauf . . .
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One of the unrecognized masters of Brazilian music, Waltel Branco seemed to have been everywhere from the 1940s to the 1970s, Zelig-like. As the director of the Som Livre studios of Rede Globo, he produced most major records of Brazilian music history, with more than three thousand official credits and a few thousand more in dispute, for wildly different works, from the afro-folk of J.B. de Carvalho to the samba of Elizeth Cardoso to the bossa nova of João Gilberto to the tropicália of Gal Costa to the soul funk of Tim Maia . . .
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Who was Margo Guryan? Words and Music is a definitive attempt at answering that question: a 3-LP box set collecting Guryan’s recorded work–early, jazz-leaning songs, Take a Picture, and the demos released in the early aughts. It traces Guryan’s musical career from precocious jazz composer to successful songwriter, from her conversion into a pop artist in the late '60s to her unlikely career revival beginning in the 1990s and continuing into the TikTok age . . .
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At Ease With Coleman Hawkins is jazz for way past midnight, when ties are loosened and heels are kicked off; when the twilight glow of last night and tomorrow morning ooze into a hazy, pastel hue of here and now . . .
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Combining chamber pop, jazz, and folk with Buddhist poetry, Toronto's Luka Kuplowsky has created a contemplative space with his latest album, the beatifically titled How Can I Possibly Sleep When There Is Music . . .
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Will Oldham has known Daniel Higgs for decades, first in Baltimore in the late 1990s, later putting up the Lungfish auteur whenever he passed through Louisville. So when his friend, musical collaborator and Louisville neighbor Nathan Salsburg suggested covering a Lungfish song that he’d been singing to his infant daughter, it made perfect sense to Oldham . . .
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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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Though it was released six years prior to Overgrown Path, Chris Cohen has retrospectively called Calamity "essentially his first solo record", featuring minor contributions from consummate collaborator Nedelle Torrisi. Both a mid-aughts indie relic and another of Cohen's signature timeless touch, it shouldn't be difficult for fans of his excellent solo albums to dive into the pool headfirst . . .
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Welcome back to Aquarium Drunkard Transmissions, our weekly series of illuminating interviews and contextual conversations. This week on the show, guitarist and composer Julian Lage. On his latest album, the Blue Note release Speak To Me, Lage often presents himself as something of a singer/songwriter—minus the singing, that is. Joined by a five-piece band and producer Joe Henry, Lage careens from jittery free jazz to classic West Coast pop, maintaining a careful flow that feels generous but considered, diverse but not haphazard . . .
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