Inspired by Erik Satie and a 1962 French science fiction film, Jeff Parker's "La Jeteé” / “Jetty” has morphed and mutated over its lifespan, changing with its creators whims and settings. Parker joins us to track the song's evolution . . .
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Synth lifer Steve Roach has maintained a steady workflow for decades, releasing a steady stream of ambient and electronic soundscapes. With the 40th anniversary of Structures From Silence just passed, he joined us to discuss his creative process, learning to go with your own flow, and his lifelong sonic journey . . .
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Little Feat's Lowell George released only one solo album, 1977's Thanks I'll Eat It Here. Dominated by covers of artists like Rickie Lee Jones, Jimmy Webb, and Allen Toussaint, a new version of the album showcases George's vision . . .
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"You don't have grief without love." Saxophonist Alan Braufman got his start in the early '70s NYC loft jazz scene, where he took in shows by Sun Ra and other firebrand luminaries. More than 50 years later, he's still at it with a post-bop stunner, Infinite Love, Infinite Tears. He joins us to discuss . . .
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Lyrical sax-forward jazz meditations, frenetic piano banging free improvisation, loose hallucinatory sung melodies and surging, swelling masses of sound—it’s hard to pigeonhole Beings. Its music forms and reforms as you listen, shifting dramatically from measure to measure and track to track. This is free improvisation without collision . . .
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A heady soul-reggae brew that only Lee “Scratch” Perry could concoct, George Faith’s To Be A Lover is a sweet and sultry dose of vintage R&B á la Upsetter. Released in 1977, it’s an undersung classic from the heyday of the Black Ark studio—eight cuts combining the velvet nonchalance of Faith’s voice with a group of reggae heavyweights working out tunes from the Stax, Motown, and Muscle Shoals songbooks . . .
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Freeform transmissions from Radio Free Aquarium Drunkard on dublab, airing every third Sunday of the month. This month features Chad DePasquale’s New Happy Gathering with a mix of dream-pop, industrial discord, and chamber music, and Tyler Wilcox's Doom & Gloom From The Tomb with an early birthday tribute to Bob Dylan and his incredible Bootleg Series. Sunday, 4-6pm PT . . .
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Locust Land, is Bill MacKay's first album since 2019. It’s a mix of folky vocal melodies and transcendent instrumental reveries, intricate in execution but sublimely easy to listen to. We caught up to talk about MacKay’s life in guitar; the way that structured, sung songs and open-ended improvisations can say the same things in different ways, and how he hopes his music will land with people . . .
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Some records, leave you content with just listening to the songs. Others, they get under your skin and into your blood. They demand to be played over and over and over. You start to wonder about its origins, how it was made. You want to go back in time and watch it all come together. This is the case with The Speed of Hope by Belgian post punks Dole . . .
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Guitarist Elijah McLaughlin sets aside his 12-string for an electric guitar on this outstanding new collaboration with visual and sound artist Caleb Willitz, plus a clutch of midwestern head music ringers. The result is an endlessly inventive, restlessly mutating work of improvised music, which moves between jazz, psych, post-rock, ambient and Americana. But more than that, it is also a love letter to the Chicago experimental music scene . . .
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This week on our podcast, Damon McMahon of Amen Dunes joins Aquarium Drunkard Transmissions to discuss the spiritual vastness of his beat-driven album, Death Jokes. Stacked with samples of artists like Lenny Bruce and J Dilla, it doesn't reveal itself quickly, but reveals more with each listen . . .
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As thoughtful in her articulations about her artistry as she is imaginative in her tremendously vivid arrangements, Clarissa Connelly is a compelling conversationalist. Today, she joins AD to discuss her new album, World of Work, the power of dreams and the ongoing discovery of magic to be found in her music . . .
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Last fall saw the release of the Sydney, Australia based DIY artist Chet Sounds' sophomore LP, Changes Happen to Everyone, Everywhere. At a dozen tracks, it's a lo-fi glossy and groove-laden trip across 70s-am pop, yacht rock, private press outsider folk, library funk, and Rundgren-esque psychedelia. For this installment of the Lagniappe Sessions we catch up with Chet (Tucker) as he works his way through a grip of disparate favorites, ranging from a mid-60s fantasy sit-com theme, to reinterpreting Judee Sill and the undisputed majesty that is Procol Harum's "A Whiter Shade . . .
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Winged Wheel was already a supergroup of sorts. With the band’s second LP they’ve gotten even super-er. Big Hotel brings the whole gang back together: Cory Plump (Spray Paint, Expensive Shit), Whitney Johnson (Matchess, Damiana), Fred Thomas (Tyvek, Idle Ray) and Matthew Rolin (Powers/Rolin Duo). But it also adds two serious ringers to the mix — Sonic Youth’s mighty sticksman Steve Shelley and Water Damage’s similarly mighty Lonnie Slack . . .
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Fabulous Soundtracks isn’t a concept album per se, but it’s structured like a series of “soundtracks” for 10 distinct real life experiences. Each refracted through Jack’s mind and his senses, these commonplace occurrences come out the other side like a shimmering dream . . .
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