The Mexico City based five-piece Diles Que No Me Maten conjure a languid and mournful psychedelia on their fourth album, Escrito en Agua, infusing krautrock and slowcore elements into a patiently unfolding album that sears with intensity . . .
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Broadcasting 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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Welcome back to Aquarium Drunkard Transmissions with Jason P. Woodbury. This week on the show, writer and musician Sam Sodomsky, who records and releases music—a lot of it—under the name The Bird Calls. His latest slice of literate folk rock and alt-country songcraft is called Take Leave, and it was released on August 28 via Ruination Record Co. Take Leave rattles with downcast charm. Its songs are sly and full of knowing. Sam joins us to discuss, talk about his Springsteen fandom, dig into The Blue Nile, and more . . .
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An unsung pioneer of the jazz vibraphone, the elusive Philadelphia-born musician Walt Dickerson is best known for his collaborative seventies album Visions with Sun Ra. With a dynamite quartet featuring a young Andrew Hill on piano and drummer Andrew Cyrille, 1962's career highlight To My Queen is a tender, lovingly crafted suite showcasing the vibraphonist's asymmetrical and self-proclaimed plush metallic tones . . .
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Laidback at an almost glacial pace, the silky music of Massive Shoe blurs the line of golden seventies AM pop. The nom de plume of Melbourne-based multi-instrumentalist Dylan Young, Way Dynamic's third record features sparse arrangements and radiant subtleties in songcraft that are a little bit Chris Cohen, a little Nilsson/McCartney. With highlights like "Ibiza" and the effortlessly melodic "Miffed It", it's unsurprising that the timeless quality of Massive Shoe has already garnered appreciation across generational musicians . . .
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Jake Xerxes Fussell returns with another set of meticulously curated old-time songs played and sung with warmth and grace. The North Carolinian songwriter has a musicologist’s grasp of pre-war folk and blues; he is intimately familiar with multiple versions and interpretations of the songs he performs, reaching across decades, even centuries of history, to find the core of the music. And yet he uses this knowledge not to replicate the past but to reinterpret it, so that the songs live and breathe in his capable hands . . .
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The Ghosted trio haven't changed much over the course of three albums, turning out sleek, skeletal jazz with deft regularity. With the addition of Swedish multi-instrumentalist Christer Bothen, guitarist Oren Ambarchi, bassist Johan Berthling and drummer Andreas Werliin deepen their groove while expanding their reach. Thanks to the addition of Bothen's bluesy bass clarinet and earthy donso n'goni, the Ghosted trio comes alive but stays haunted . . .
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Rão Kyao's 1976 debut album Malpertuis can be seen as a direct offspring of Portugal's 1974 Carnation Revolution that ended four decades of dictatorship and allowed the country to breathe again—especially in terms of its cultural outpouring, which had been heavily conditioned by a suffocating censorship and recurrent attempts at blocking any external influences that might instigate dangerous ideas of subversion . . .
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Dan Friel is having a summer, what with the surprise resurgence of aughts noise mainstays Parts & Labor and now a fourth album from guitar-centric, astronomy-centric Upper Wilds. Yet while the double disc Parts & Labor veered occasionally towards proggy excess Mercury runs a ferociously tight ship. It’s loud as fuck, but nothing’s wasted . . .
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Orcutt’s deconstruction of “Louie Louie” is a mash-up of Steve Reich’s 1970 minimalist milestones “Four Organs” with the rock staple. It finds a seam between experimental, avant garde repetition and the dumb but beautiful way that garage rock can hammer on a riff forever. The piece first emerged as a studio album on Fake Estates in 2024. This live recording revisits the piece in all its organ-stabbing, maraca-shaking glory . . .
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Constantly meandering in copyright turmoil that renders it inaccessible, 1972's lone eponymous record by American Spring (sisters Marilyn Wilson and Diane Rovell, formerly of girl group The Honeys) is an obtusely captivating slice of baroque pop. A production of Marilyn's husband Brian Wilson along with consummate Beach Boys engineer Stephen Desper, the source material culls tracks from the band's classic Sunflower as well as the The Shirelles, old country standards and the Goffin-King and Tommy Roe songbooks . . .
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Welcome back to Aquarium Drunkard Transmissions with Jason P. Woodbury. This week, we’ve got something extra special: a behind the scenes look at the forthcoming documentary, Sun Ra: Door of the Cosmos, a sonic cinema odyssey through the life, work and philosophy of the surrealist composer and musician. In addition to a conversation with director Drew DeNicola, this episode will present archival material gathered for the film, including interviews and statements from Ra himself, rare recordings of the Sun Ra Arkestra in action, and previous Transmissions guest Camae Ayewa, also known as Moor Mother, reading from Sun Ra’s . . .
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Forget the Beatles. Brazilians love covering the Fab Four in all the different styles (from bossa to Tropícalia and MPB), but some intrepid brasileiros prefer to explore other international trends. Melô do Embaixador digs deep into the country’s under-documented history of American soul, funk, and disco, turning up 27 strange and compelling interpretations from 1968 to 2015. Tim Maia, forgotten bandleaders, anonymous studio bands, disco cash-ins, and one-hit wonders all make appearances, some translated into Portuguese, some in instrumental versions, some in endearingly awkward English, and all revealing a parallel history of Brazilian popular music . . .
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If you make it all the way through to track 21 (of 23), to “Sweet, Sweet Sickly Music”, you’ll hear a tortured guitar unspool against a beat obscured by fuzz. These are hooky songs rotted to phosphorescence, but plodding on nonetheless. The Drin’s tunes live furtively in fetid underground bunkers, where their ear-wormy melodies bounce off muck and concrete . . .
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“I can see the future and I can tell you’re smiling,” sings Nighttime’s Eva Louise Goodman on “Mother of Invention,” a quiet confidence in her voice. It’s the centerpiece of her latest album, Looking Glass, which she says is “an album about thresholds. About opening your heart, taking a leap, and coming out on the other side.” Conceived between a previous life in the woods of upstate New York and a move to Los Angeles, where she currently resides, the album is a swirling mélange of dusty psychedelia and cosmic folk music, full of sepia-toned . . .
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