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Abstract Truths: An Evolving Jazz Compendium — Volume Five

Volume five of Abstract Truths. If unfamiliar with the series, please first read here about the its genesis and intention. Bringing us this look at the contemporary Chicago jazz scene is Scottie McNiece, head of the essential International Anthem Recording Co.

"For over 100 years, Chicago has been ground zero for many of the major innovations and . . .

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Open Field :: O.F. II

With very little accompanying hype, Kenneth Stephenson (formerly of the underrated NC band The Kingsbury Manx) has been releasing music on Bandcamp under the Open Field moniker for a few years now. But these fully realized, downright masterful records deserve a lot more hype! Dive into O.F. II . . .

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Gérard Manset :: Animal On Est Mal

Painter, photographer, writer, musician: Parisian omnivore Gérard Manset is a man of many talents. Virtually unknown in America, the multi-instrumentalist is most renowned for his musical output in France. His debut album, Gérard Manset 1968, is an underrated gem of mod leaning psychedelic pop, featuring vocals often run through a Leslie speaker accompanied by big orchestral arrangements. The record should have been a bigger hit, but the 1968 French Revolution had other plans preventing larger sales . . .

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Gumba Fire: Bubblegum Soul & Synth Boogie / 1980s South Africa

The latest excursion from Soundway Records finds the label beaming out eighteen glittering and never-before-heard tracks of 80s bubblegum soul and electro-dance. It’s a revelatory listen, crossing a wide range of sounds, all of them bursting with an eagerness to be heard. Songs from groups like The Survivals and Hot Soul Singers are glowing technicolor disco with an analog minimalism that glimmers and grooves in its roots to earlier forms of afrobeat and highlife.

The compilation’s title is, according to Soundway, “derived from ‘gumba gumba’, the term given to the booming speakers of the old . . .

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The Lagniappe Sessions :: Kevin Morby / Second Session

Lagniappe (la ·gniappe) noun ‘lan-ˌyap,’ — 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

Kevin Morby returns this week with his second installment for our ongoing cover series, the Lagniappe Sessions. In 2015, Morby paid tribute to 'Nashville' Dylan, American Water-era Silver Jews and offered an inspired transfiguration of the Germs . . .

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Minami Deutsch / 南ドイツ :: With Dim Light

When we spoke with Kikagaku Moyo’s Go Kurosawa at Chatei Hatou in Shibuya last February, he tipped us off to Minami Deutsch. The band were his roommates at the time, and KM's label, Guruguru Brain, had released MD’s self-titled debut, on which, Go said, “they only do a motorik Neu! beat.” OK. We immediately checked it out and can attest after countless listens that the . . .

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Hans Chew :: The Aquarium Drunkard Interview

Late last year, Hans Chew quietly released his fourth album, Open Sea. He's known for his work with Endless Boogie, Jack Rose, Steve Gunn, Hiss Golden Messenger, and others, and the record caught our ears in a big way at Aquarium Drunkard. "While digging into Open Sea, Hans Chew’s latest/greatest LP, your imagination may conjure up some dream rock combos," Tyler Wilcox wrote in his review of the  record. "Leon Russell hiring Television to be his backing band in ’77? Joe Boyd producing the Allmans? JJ Cale jamming with Crazy Horse?"

It's a record that feels lived in, by a guy who's lived an awful lot. Backed by the Rhyton rhythm section, Chew provides boogying piano and guitar along with lead guitarist Dave Cavallo, bearing his heart over a set of deep grooves. "Who am I/to forget it?" he pleads at the start of "Who Am Your Love," singing like a man with a lot on his mind, summarizing, "The one who cares will not be spared/from the tender."

That sense of tenderness and care was evident as we called Chew up in New York to discuss the record and the long road he took getting to it. The conversation's been edited and condensed for clarity.

Hans Chew :: Give Up The Ghost

Aquarium Drunkard: There's always a big question when it comes to music that engages rootsy textures like yours about "authenticity." Open Sea blends and mutates a lot of styles, but what ultimately makes it yours? What does authenticity mean in the context of your music?

Hans Chew: A big part of my entire life has been sorting out and kind of finding my way in the world, growing and maturing…I really don't feel like I got my act together until I was in my late 20s. I was probably about 28. I went down a dark road for a while…I guess what I'm trying to say is it's always been a question for me of, you know, when people say "just be yourself." It seemed like such a simple statement and I got what it meant. I understood the gist of it, but for the life of me, that was–that's always been the question, I mean still, to this day, to a large extent, I still ask myself, "What does that mean to 'just be yourself?'"

I mean, there's all these other people out there. I would love to be like that person and that person. [You ask] what kind of singing voice should I try to have? What kind of style should I try to do? And then I guess I got to a point where I realized, I could try to scream into a pillow every night and try to get a voice like Tom Waits, or I could try to do some kind of Nick Cave/David Yow/Iggy Pop impersonation, you know, swallow the microphone, but then I was like, you know the limitless well of inspiration that I have is my own uniqueness of a human being. I know we're all humans, and we're all 99.9% the same. But everybody is also unique. There's nobody else who's had my exact existence, as far as I know. Maybe the anti-matter Hans or something in some parallel universe.

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Abstract Truths: An Evolving Jazz Compendium — Volume Four

Volume four of Abstract Truths. If unfamiliar with the series, please first read here about the its genesis and intention. For this installment we tapped bay area record collector/muso David Katznelson.

Katznelson likens the genre to a "wild animal...a cuddle by a fire place; it pushes up against it and provides a respite from the daily grind. Great Jazz fills a room with colors, gives it . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (7pm PST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard every Wednesday at 7pm PST with an encore broadcasts on-demand via the SIRIUS/XM app.

SIRIUS 514: Jean Michel Bernard — Générique Stephane ++ Basa Basa - African Soul Power ++ Missus Beastly — Geisha   ++ Sinkane - Jeeper Creeper ++ William Onyeabor - Better Change Your Mind ++ Seu Jorge and Almaz - Everybody Loves The Sunshine ++ Paint - Heaven In Farsi ++ Khruangbin - Maria Tambien ++ Makaya McCraven - Above & Beyond ++ Digable Planets - Pacifics ++ Ed Thigpen - Danish Drive ++ Jack Wilkins - Red Clay ++ Idris . . .

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Total Jazz :: Blutch

In the preface of Total Jazz, Fantagraphics’ new collection of jazz comic strips by Christian “Blutch” Hincker, the author is tasked with providing an introduction to the book. Imagining himself as a young Native American brave, Blutch confesses to a stoic tribal leader: “Jazz makes me sick…It turns my stomach.”

It’s a hinky way to start a book dedicated to illustrating the culture of jazz, and not only because of the stereotypical racial tones. Total Jazz collects comics Blutch began wrote and drew for the French magazine Jazzman, stark black-and-white panels that pulse with feverish energy, melancholy and haunting beauty. They aim to “translate the untranslatable” about jazz, and often they actually achieve this seemingly unattainable goal. So why the sudden case of jazzy nausea? “At first, I felt invincible” the author explains in character in the intro. “But after many moons and almost 1,000 stories, I’m down on my knees on the path.” Illustrating the music that moved him made him obsessive – a dreaded “nerd” – and even worse, all those records and CDs began to function as a mirror. If you stare at anything long enough, you begin to see yourself. No one should have to see themselves so much. Blutch suggests.

But that reflection is what makes Total Jazz such an exceptional read. Sometimes, Blutch’s strips are about jazz, the ephemeral concept and deep blue spirit of the art form itself, but most often they are about jazz musicians, meaning they are really about people. Sex, violence, confusion, fear of obsolescence – these familiar human concerns show up just as often in these comics as rough, squiggly lines from the bells of saxophones and trumpets. Like the music that engages him, Blutch quickly shifts in mood and style. His strip about a grouchy couple unimpressed by just about every element of a jazz festival is jotted out in loose, impressionistic lines, while stories like “The Sound,” about tenor saxophonist Stan Getz forcefully willing his signature sound into existence, employ heavy shadows and intricate line work.

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Basa Basa :: Homowo

In some parts of West Africa, the appearance of twins is considered a harbinger of blessings to come. And when Fela Kuti, who had already installed statues of twins on the altar at the Shrine, met the brothers Joe and John Nyaku, he may have sensed the glow of their own future pulsing backwards through time. Or maybe he was simply being a good host when he bowed and declared, “Dear twins! We are honored to welcome . . .

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David Gedge (The Wedding Present) :: The Aquarium Drunkard Interview

If Barry Manilow writes the songs that make the whole world sing, David Gedge pens the songs that make the world drunk dial their ex’s after punching a hole in the wall.

For over three decades Gedge has been crafting compelling and bruising songs about heartbreak, desire, infidelity, and personal frustrations as the frontman for The Wedding Present. He’s the eternal fixed center of the band, whose lineup and sound shifts from album to album. Emerging in 1985 from Leeds, England, The Wedding Present were initially lumped in with the lo-fi “C86” twee-pop scene due to their wiry, chiming guitar sound and Gedge’s unpolished vocals. They quickly outgrew that C86 label, morphing into a band that could pull off dreamy soundscapes and noisy squalls as capably as any shoegaze band. And with Cinerama, his other band, Gedge embraced a more lush, orchestral pop sound.

While The Wedding Present have continued to advance their sound over the course of their discography, they’ve also gone back to their roots for a series of anniversary tours where they’ve played beloved albums like George Best, Bizarro, and Seamonsters in their entirety. Gedge and company are about to embark on another sweeping tour of the U.S. this month. One of their reasons for hitting the road is to help spread the word about director Andrew Jezard’s upcoming documentary, Something Left Behind, which chronicles the making of their seminal debut album, George Best.

Considering the emotional intensity of his lyrics and music, one could assume that Gedge might be dour or withdrawn in conversation. To the contrary, speaking to the cult songwriter via phone, he comes off as warm and affable. He may be the English poet laureate of romantic angst, but he isn’t afraid to laugh at himself or chuckle about the absurdities that come with living a creative life.

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Jack Adkins :: American Sunset

Settle in with this one. With a kinship to Bobby Brown, this is private-press psych folk at its most private, perhaps never intended for anyone but its author. Jack Adkins’ 1984 lp American Sunset breathes a poetic mystery through its singular groove — an electronic tinged bummed out acid folk that feels borne of Lee Hazlewood and prescient of Daughn Gibson. A genuine rarity, Adkins’ prophetic cosmic musings and transfixing fusion of sounds makes a perfect . . .

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Tim Heidecker :: The Aquarium Drunkard Interview

There's a pretty good chance that the person you think of when you think of Tim Heidecker isn't the real Tim Heidecker.

Since emerging in the early 2000s with Adult Swim's Tom Goes to the Mayor, Heidecker has consistently and deliberately blurred the lines between reality and fiction on shows like Tim and Eric Awesome Show, Great Job!, Decker,  and  Tim & Eric's Bedtime Stories.  Even more disorienting is his long-running  movie review show  On Cinema, where he plays a character named Tim Heidecker alongside Gregg Turkington (best known for his own creation,  Neil Hamburger). It's both a labyrinthian blend of meta-commentary and a hyper-detailed fictional universe, one that's found the alternate reality Heidecker struggling with family life, substance abuse, and most recently, going to trial for his involvement in the deaths of 20 festivalgoers at the Electric Sun Desert Music Festival. Unless you're really paying attention to the layered intricacies, it can seem like the guy's actual life is a chaotic saga, rather than the stable, domestic existence Heidecker documents on his 2016 LP, In Glendale.  On that record, he reveals perhaps the closest representation of his actual self to fans, but  he's not restricted to thematic territory musically: his most recent album, Too Dumb for Suicide, wraps up grim observations about President Donald Trump and the emergence of the alt-right in sunny, West Coast folk-pop.

This Sunday, March 4, Heidecker and Turkington host their annual Oscars special, streaming live on Adult Swim. We spoke to Heidecker  at the very end of November 2017 from his offices in Los Angeles, and broadcast our talk on the January 2018 episode of the Transmissions Podcast. To prep you for the upcoming live special, here's our conversation, transcribed, edited and condensed for clarity. It may not make the real Heidecker completely clear, but it certainly digs into what makes his comedic illusions work.

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Les Bibliothécaires :: A Library Music Collection (1967-1982)

Don't sleep on this expansive labor of love – a 12+-hour mix of strange and entrancing Library Music, compiled for your listening enjoyment over on the ever-reliable Musicophilia blog. This so-called "stock" music from the 60s, 70s and 80s is a universe unto itself, full of uncanny soundscapes and environments . . .

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