It’s no accident that Arab Strap’s eighth full album has a couple of emojis in the title. A disgruntled, disgusted masterwork, I’m Totally Fine With It lives in the belly of the digital beast, spewing blasted poetry at the dits and dots that move through its digestive tract . . .
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After a trio of excellent early aughts albums with his San Francisco post-prog outfit Citay, Ezra Feinberg stepped away from music to pursue a career as a psychoanalyst. In 2018, he returned to music with his first solo album, beginning an outstanding run of releases that continues to this day with the aptly titled Soft Power. Soft Power mixes post-rock, minimalism and new age, while somehow remaining tangibly human and emotionally grounded . . .
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Though Paul Spring's music has always revolved around a nucleus of classical nylon string guitar and a healthy dose of Irish flute, River Flows Two Ways is a truly stripped down acoustic affair, reworking of fourteen tracks culled from his eclectic previous releases. Coinciding with a canoe tour down the Hudson River, the tireless session guitarist (and collaborator of artists like Mary Lattimore) spins new arrangements in both a fresh new album and catalogue introduction of sorts . . .
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Even if Fragments, the latest Bootleg Series release from 2023, is the end of the line, fans have been given hours upon hours of “pretty good stuff” that we’ll all be sifting through for decades to come. To celebrate this bounty — as well as Dylan’s 83rd birthday this week — dig into a very small selection of Bootleg Series highlights, stretching from The Times They Are A-Changin’ to Time Out Of Mind. There’s beauty in every grain of sand . . .
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Possibly in Michigan has been called a pioneering work of lo-fi aestheticism, an advertisement for Satanism, and a “cursed film.” But is it really a surreal revenge fantasy based on the director’s relationship with the infamous Unicorn Killer . . .
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Comme il faut. 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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With his new EP Roseway, Jeffrey Silverstein continues his journeyman drift, wedding country ballads to funk boogies and laser-guided motorik drive to languid, swamp-ready guitars. With his Telecaster Deluxe strapped on, Silverstein cut the recordings with his band. The music picks up where his last full-length, Western Sky Music, left off. We caught up with Silverstein to discuss how it came together. Our conversation, edited for clarity and cohesion, is presented here . . .
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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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