We’re breaking out our Case Logic compact disc wallets once again to dig out some of the best bonus tracks from days gone by. This time around, we’ve got visionary Albionic reveries, soothing soul pop and the big band version of Talking Heads burning down the house . . .
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File under: autumnal albums. Released eighteen years ago, Caitlin Cary and Thad Cockrell's sole collaboration continues to pay dividends, and as collections of duets go, Begonias has rightly earned its place as a modern day classic. Mellow and contemplative in approach, the pair's vocals ache and yearn as Cockrell's tenor tangles with Cary's alto. A traditional country album with a capital T. Now if they would only make another . . .
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This week's installment of the Lagniappe Sessions catches up with Welsh singer-songwriter Huw Evans who, under the guise of H. Hawkline, has released five records over the past thirteen years. Evans most recent effort, the excellent Cate Le Bon produced LP, Milk For Flowers, dropped earlier this year and the following session acts as a sort of companion set. Expect: unexpected covers of covers, hi-fi nods to Cleaners From Venus, and the majesty of Yoko Ono . . .
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Emerging as wood-and-steel road warrior over the last couple years, Liam Grant is a journeyman pupil of the guitar soli dharma emanating from the Takoma school and beyond. With Amoskeag, Grant carves his own path through roving distances of hard-driving, raga-infused guitar excursions, ultimately arriving somewhere that feels like home. Born of a year’s incessant touring, the six extended compositions on his second full-length release are reverent contemplations of time, memory, and place, coursing with the ancestral spirits of Grant’s native New England and the melodic traditions of country bluegrass, ragtime, and blues . . .
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New York’s Allegra Krieger has had quite the year. The cosmic folk artist released her fourth studio album, I Keep My Feet On The Fragile Plane, in July via Double Double Whammy. Across its 10 tracks, Krieger sings measured soliloquies recounting her memories, observations, and curiosities straddling the mortal and divine. Finger-picked guitars float like sunlight, illuminating forgotten corners of the universe where Krieger finds inspiration . . .
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A dedicated crate-digger, Jonathan Kirby co-hosts Dogpatch, one of the greatest music podcasts going, with fellow traveler Dante Carfagna. Kirby’s music occasionally sounds like something the duo might share on Dogpatch — some well-nigh unbelievable slice of homemade sonic alchemy, with warm vintage keys and drum machines, gentle (if not exactly mellow) oscillations and rippling melodies. Fans of the essential Personal Space: Electronic Soul 1974-1984 comp — which Carfagna compiled, not-so-coincidentally — will fall in love with the Safe To Disconnect series at first spin . . .
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Andrew Savage joins Aquarium Drunkard to discuss his new record, Several Songs about Fire, moving to Paris, poetry, and touring with Cate Le Bon . . .
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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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One of this year’s best straight-ahead jazz sessions…though maybe most straight-ahead jazz sessions don’t prominently feature pedal steel guitar. Alex Sadnik’s Flight takes on the work of Charlie Parker—every alto saxophonist’s white whale—and manages to make it all sound fresh again . . .
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Celestial finds the Sun Ra Arkestra's Knoel Scott and Marshall Allen joined by Arkestra alum Chris Henderson on drums, and Scott collaborators Mikele Montolli and Charlie Stacey on bass and piano, respectively. Recorded live in a sweltering heatwave in the Netherlands in the summer of 2022, in just two days, the results are magical . . .
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This week on our weekly podcast, we’re chatting once again with Mitch Horowitz, occult scholar, practitioner, and historian. We’ve had Mitch on a number of times—once a year or so for the last few years. What can we say? We just love listening to the guy riff. His latest is book is Modern Occultism: History, Theory, and Practice. Our talk? Well, it’s all over the place, covering many of the figures who appear in the book, like Jack Parsons, the pioneering father of modern rocketry—who was also a practicing magician, one-time Marxist, and famously . . .
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Mid-80s Osaka, mutated, experimental pop. Self-pressed at 100 copies, The Air Music International's 1984 lp, Pass The Santa-Lucia Gate In Manila, is as mysterious as their members, whose credits show up nowhere else save for their only other release, “I’ve Never Had it So Good,” a 7” credited to slightly altered The Air Music International Reggae System. The project is the brainchild of horn-player, vocalist, and sound manipulator Tetsuji Kakuni, whose saxophone, suona, distorted vocals, and tape operation lurk across the record mischievously . . .
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Herbie Hancock’s Head Hunters was released a half-century ago this month — and the funk has never been the same. Oddly enough, there doesn’t seem to be any kind of massive 50th anniversary boxed set celebrating this classic crossover LP. But a compiler looking to expand Head Hunters could certainly consider this well-traveled live broadcast from right around the time the album came out. The grooves are ridiculous, whether Herbie and co. are sliding through a scintillating “Butterfly” or finding electrifying new directions in “Chameleon . . .
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Mountain Goats latest album, Jenny from Thebes, draws on that love of theater, as well as a cast of characters first brought to life two decades ago. It builds a rock opera out of the story of Jenny from All Hail West Texas, continuing her trajectory from safe house proprietor to murderer on the loose. The album is also loosely based on the Greek tragedy Seven from Thebes and sonically overstuffed enough to keep your average Broadway pit orchestra challenged and happy . . .
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One of the best capital-A Ambient records I’ve heard in a while, Golden Feelings’ Better Weather clocks in at just under a half-hour. But it seems like it contains entire universes in its enveloping soundwaves. Throughout, Dustin Krcatovich mixes and matches an array of loops, field recordings and live instruments, coming up with a vibe that occasionally makes me think of a (much less doomy) spin on Popol Vuh’s Aguirre OST. Luminous and lovely, getting Better all the time . . .
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