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Natalie Prass :: S/T

On Nashville singer-songwriter Natalie Prass’ self-titled album, every song is like a tiny miracle. Helmed by producer Matthew E. White and his Richmond, Virginia-based studio/band/label, Spacebomb, the album features lush string arrangements, jazzy overtones and classic R&B horns. But White could make almost anyone sound good. What sets Prass far apart is the maturity of her songwriting; her elegant, woodwind-esque . . .

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Jim White Vs. The Packway Handle Band :: Take It Like a Man

Jim White once told me that his ideal situation as a songwriter would be to make a record of other people recording his songs. And given the bits of himself that have leaked out through his six full-length albums, it's not surprising to think of him being the introvert, of wanting to share his ideas, but perhaps not through his own voice on his own stage. Thankfully, he never fully embraced that idea given how perfect his own spoken and sung voice is for his written words, but his newest album, Take It Like a Man, a collaboration with Athens, Georgia's Packway Handle Band, is a good example of how his sought anonymity within the music could generate amazing results.

This is not to say that this is not a Jim White record. His name appears above the title for a reason. His lead vocals, however, are restricted to only five of the 11 songs on the album. And that's something to get used to. But the Packway Handle Band proves to be an amazing compliment to White's music and lyrics.

Clocking in at less than 40 minutes, Take It Like a Man is a rambling chase. It comes up to speed through the mystical feel of "Smack Dab in a Big Tornado," a song with imagery familiar to long-time fans of White's work, hitting its first stride with "Corn Pone Refugee," a song that relishes in its word play. "I could not help myself, tugging on them strings," White sings with the gallop of Packway behind him both musically and vocally. What sounds in a lot of ways like a traditional bluegrass romp is transformed with White's distinctive imagery and vocal delivery.

Jim White And The Packway Handle Band :: Corn Pone Refugee

The album shines especially when it both revisits and re-imagines some of White's earlier work. Two songs previously released are performed here. "Jim 3:16," a version of which appeared on the 2009 live EP A Funny Little Cross to Bear, is fantastic in this setting, the refrain of "A bar is just a church where they serve beer," having its simple truth underlined by the full instrumentation. Digging back even deeper to White's first LP, "Wordmule Revisited" is exactly as the title proclaims, a re-examination of the Wrong-Eyed Jesus stand-out. Here, the original's creaky, fractured production is straightened out into a jam that carries a hoarse sounding small-choir of voices. Where the original sounded like free association funneled through a filter of smiling insanity, the remake finds the song to be much more foreboding. Maybe it's the more intense instrumentation - the Packway Handle Band is a ridiculously well oiled machine on this album - or the spoken lines among the sung that add to the menace. The overall feel is ratcheted up and it's a tremendous song that stands on its own against the original's broken brilliance.

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Tangerine Dream :: Live At Conventry Cathedral, 1975

Sad news from the camp of kosmische/space music/soundtrack pioneers Tangerine Dream today regarding the passing of founding member Edgar Froese.
"Dear Friends, this is a message to you we are deeply sorry for. On January 20th, Tuesday afternoon, Edgar Froese suddenly and unexpectedly passed away from the effects of a pulmonary embolism in Vienna. The sadness in our hearts is immense. Edgar once said: “There is no death, there is just a change of our cosmic address."

Tangerine Dream was a defining band in the "Berlin . . .

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The Rolling Stones :: Satisfaction (Charlie Is My Darling)

While it existed as a poorly edited rough cut on rough quality bootlegs for many years, thankfully the historically important and downright amazing Charlie Is My Darling is now available on a coherent and highly official DVD. Charlie documents the Rolling Stones at the peak of mod mania, touring Ireland in the fall of 1965 and performing to both riotous youngsters and at least one young priest. In addition to the on-stage rushes, there is some priceless footage of the band . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 374: Jean Michel Bernard — Générique Stephane ++ The Allah-Las — Busman’s Holiday ++ B.F. Trike — Be Free ++ Dinosaurs — Sinister Purpose ++ Flaming Groovies — Golden Clouds ++ The Ramones — Oh Oh I Love Her So ++ The Nerves — Stand Back And Take A Good Look (Demo) ++ Chris Spedding — Bored Bored ++ The Lovin’ — I’m . . .

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Die Electric Eels / Spin Age Blasters / Bunnies

The electric eels (all lower-case, with reverence to e e cummings) were a short-lived Cleveland combo with a discography that sounds too ramshackle and combustible to have been recorded in the first place. They barely played live, clocking in something like five shows before breaking up in 1976, but their sounds, collected lovingly by the fine folks at Superior Viaduct on Die electric eels and the 45 Spin Age Blasters / Bunnies, sound revelatory in 2015.

Inspired by disparate influences upon their formation in 1972 — guitarists John Morton and Brian McMahon and . . .

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Multis E Gentibus Vires: A Vintage Saskatchewan Mixtape

Dig into an all-vinyl helping from one of Canada’s overlooked and underappreciated provinces. Rural rock with guitars informed by six months of winter. Prairie Lily ladies and god-fearing men. 800 pounds of country rock from a trio of CFL players. A paean to a Métis folk hero. And Howard. Welcome to Saskatchewan.

Multis E Gentibus Vires: A Vintage Saskatchewan Mixtape

Playlist after the jump. . .

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Hans Condor :: My Lyin’ Mind

There are rock and roll bands and there are powerhouses like Nashville, TN’s recently resuscitated Hans Condor that drag the aforementioned out into the alley behind the club at the end of the night. Not many can pull off calling their debut  Sweat, Piss, Jizz & Blood, but Hans Condor did it back in 2010 with equal parts fury and bravado. Ten songs in thirty minutes chock full of careening rhythms, gristly bass lines, and guitar moves greasier than the skillet at Wendell Smith’s . . .

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Willis Earl Beal :: Noctunes

Willis Earl Beal returns this week with Noctunes, a record of songs inspired by night-time. Limited to a 300 compact disc release, this new collection is being self-released through Beal’s Electric Soul Records. Those interested in a copy, should reach out to the man directly via his site.

Below, two tastes from the record. These new works play like an out of body experience, hovering over one’s own existence . . .

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Sonny & The Sunsets :: The Aquarium Drunkard Interview

To be fearless in any aspect of one's life is a feat not easily attained. In the art-world, perhaps the stakes are even higher. As an artist's credibility and validity are, by nature, prone to scrutiny, often those who make it through the ringer are the ones capable of re-invention and whom resist the urge to be anything other than themselves.

For Bay Area native Sonny Smith, whose rich output across theater, music, and visual is nothing if not proliferate, this dedication to creating honest art is exactly what makes him so alluring. Whether backed with his band the Sunsets or collaborating with various artists, there remains a backbone to his work rooted in letting all your weirdness out, even the darkest parts. Ahead of Talent Night at the Ashram, his latest effort for Polyvinyl Records, we caught up with Sonny to speak out being a dad, transformation, and health food stores.

Sonny & The Sunsets :: Happy Carrot Health Food Store

Aquarium Drunkard: You've been doing music, film, theater, etc. for over a decade now. Do you follow any sort of daily rituals/routines to keep the mind active?

Sonny Smith: No, I don't. I've always wished I was one of those writer types that wrote from 7-11 AM every day or something like that. I just do creative stuff in between all the life stuff. I've got a notebook with me everywhere I go. I write songs in the car, while I'm at my kids soccer practice.

AD: Are you getting used to the parent/musician balancing act or is there always something new to learn?

Sonny Smith: Well, it's kind of both. You get a handle on things after a couple of years when you're  raising  a kid.  Seemed  like when my son turned five, there was kind of this plateau where I could breathe more and have a little more time. The balancing act of being a musician and raising children is crazy. They don't really fit together. It's like day to day survival. Every day is like how am I going to record this song AND get my kid from karate? My son is 10 and he's not missing an eye or any limbs or anything which is good.

AD: Sounds like you're doing alright. Having spent time in so many different mediums, was there one one in particular that  sparked  your interest in being an artist?

Sonny Smith: When I was younger I kind of wanted to be a writer. I fell for a lot of the bohemian, beat writher aesthetic. I was 17 or 18 and heavy into  Kerouac  and Burroughs and all that. I romanticized being a writer. Music was something I was doing cause it was fun and i was naturally attracted to it. But I didn't see it in the same light. I didn't see it it as serious, in the way that being a serious writer held some mystique for me. Slowly, what happened was that I was able to begin to make songs out of some of the stories I was writing.

Not to get too convoluted but if you could picture me as like a double headed person. One guy was the writer and he supplied the themes and words and ideas and the other guy was like well I'll just put this to music.   It's like a collaboration within myself. It's weird but it's how I've done it for a long time. And it always feels fresh because I'm always discovering those roles are there.

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The Lagniappe Sessions: William Tyler

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

Whether solo, with Lambchop, Silver Jews and beyond, I've been following William Tyler's career, in one form or another, for over a decade. This week, the Lagniappe Sessions find the Nashville based artist taking on four covers - from . . .

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AD Presents: An Evening With Jessica Pratt & Kevin Morby

Friday, February 27th, Aquarium Drunkard presents an intimate evening with Kevin Morby and Jessica Pratt in Long Beach. Location to be announced.

Limited capacity. Tickets available for purchase, here. We have a few pair to giveaway to AD readers. To enter, leave you name and a valid email address we can reach . . .

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Yaphet Kotto :: Have You Ever Seen The Blues (1968)

Actor/producer/musician Yaphet Kotto laid down this dark slice of soul in 1968 via the Chisa label. Proto-rap in its delivery, “Have You Ever Seen The Blues” rides the cymbals like Max Roach, all percussive piano with Kotto spitting lines like “..and all the while visions of suicide were boogalooin’ in your head and you was thinking how you might as well be dead.” And then shit gets real.

Sourced from a 45 picked up for ten . . .

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Wizz Jones :: The First Girl I Loved

Dylan’s magpie genius of course exerted its influence over the British folk scene of the mid-1960s. The Incredible String Band, however, were the ones perhaps most responsible for breaking the British folk idiom wide open, taking it back from the purists and making it strange again. They were weird but in the same way that Blake is weird, in the way that British children’s books have always been weird too. Had it not been for Robin Williamson and Mike Heron, on the one hand, and perhaps . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice, every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 373: Jean Michel Bernard — Générique Stephane ++ Tinariwen - Tenere Taqqim Tossam ++ The Ify Jerry Krusade - Everybody Likes Something Good ++ Johnny 'Guitar' Watson - Lovin' You ++ Fatback Band - Goin' To See My Baby ++ We The People - Function Underground ++ Darondo - Let My People Go ++ Los Issufu & His Moslems :: Kana Soro ++ Moses Dillard - Tribute . . .

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