Heads up, Los Angeles. On March 27th Aquarium Drunkard, in conjunction with the Echo, is holding its first ever all ages festival here in L.A. in Echo Park. Dubbed WAVED OUT, after my favorite Robert Pollard . . .
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Will Oldham's next long player (with the Cairo Gang) is out March 23rd on Drag City. He and Emmett Kelly have dubbed this one The Wonder Show of the World. I have yet to hear a note of it, but the pair did issue this non-album teaser---a stark, bare bones, reworking of Conway Twitty's "Play, Guitar, Play."
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Latest offering from Matthew Houck (Phosphorescent). Look for the new LP, Here's To Taking It Easy, out May 11th via Dead Oceans.
MP3: Phosphorescent :: It's Hard to Be Humble (When You're From Alabama)
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+ Download
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In 2005 I dubbed White Foliage's six song EP, Zurich, "ethereal dream pop." Five years later, revisiting the EP's high point, "Drug Song," the description still hold true. Since the release of Zurich, White Foliage have regrouped, dubbing themselves Secret Cities, emerging "with a cocktail of Spector-esque doe-eyed romanticism." Austin based label Western Vinyl will be releasing Zurich's follow-up, Pink Graffiti . . .
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Truly great soundtracks don't come easy. This is what makes the companion to Trainspotting so unusual. Not only does it manage to nail the cultural moment the film portrays (and aurally recreate the film's story in its running order), but it also escapes the film entirely becoming its own album. It plays out like a . . .
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When I wasn't busy blasting my eardrums out with the Creation and 4AD catalogs Slumberland Records was the essential go-to label for all things noise-pop. Almost every artist paid tribute to My Bloody Valentine, Ride and Pale Saints in some form, but
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If it seems the late Fela Kuti is everywhere these days it's because he is. He's on Broadway with the Jay-Z/Will Smith produced musical Fela!, his entire (immense) discography is being reissued in grand fashion, and most recently Now Again Records have released
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Like a ghost ship hovering somewhere off the coast, broadcasting crackly pirate-radio blasts into the ether, Ponytone is as mysterious as it is unrivaled. And by that I mean it is an aural treasure. Reportedly based in the Con Dao Islands off the southern coast of Vietnam, Ponytone's founder/editor, Lucie, digs through crates of vinyl in the darkest corners of the globe with an emphasis on jazz, disco, rock, soul, psychedelia and off-kilter pop from around the world. Much of the music featured has . . .
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Off The Record is a recurring feature here on the Drunkard that marries two of my greatest interests; music and travel. Having a locals perspective when visiting a new locale is the difference between experiencing it through the lens of a tourist and of that of a native.
Off The Record gathers some of my favorite artists, asks them to reflect on their city of residence, and choose a handful of places they could not live without -- be them bookstores, bars, restaurants or vistas.
In the late 90s, while in school, my wife spent a year living in Australia; while there she took many side-trips to New Zealand. Her tales and photographs, coupled with the below guide from the Ruby Suns Ryan McPhun, have about convinced me to drop everything, load up a backpack and catch the next flight out of LAX. But alas, I cannot, so this amazing entry into our Off The Record series will have to do.
The Ruby Suns third LP, Fight Softly, drops March 2nd via Sub Pop and the band begins their American tour March 11th.
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Our weekly two hour show on SIRIUS/XMU, channel 26 (SIRIUS), and channel 43 (XM), can now be heard twice, every Friday - Noon EST with an encore broadcast at Midnight EST.
The first hour of today's show will be the new Mondo Boys mixtape A Continuous Monument. Download it here.
SIRIUS 130: Jean Michel Bernard - Generique Stephane ++ JAVELIN . . .
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Listening to Joanna Newsom has always required certain things: patience, trust, an ability to overlook cosmetic flaws in favor of the more complete picture, more patience. Her precedent releases–2004’s Milk-Eyed Mender and 2006’s Ys–required these virtues in increasing numbers. But Have One On Me, her new Victorian triple-decker of an album, is asking for a much longer commitment.
Commitment being the key word. It’s unfair, really, to judge Have One On Me the week, the month, and maybe even the year of its release. Newsom is an artist of considerable talent and intentionality: Have One On Me is as carefully built as Bleek House, and takes as much long-suffering to get through, much less appreciate and critique. There’s so much happening here: narrative lines about man and God and law and love and death weave and block one another throughout the album’s two hours and three discs, fitting together into something so, well, so big that it’s going to take the truly committed at least a good nine months just to determine what, exactly, Newsom is trying to do with Have One On Me, and whether the thing holds together at all.
But is it even worth the attempt? There’s no virtue inherent in releasing an album that takes two hours to listen to, and I’m not sure that Newsom should be lauded for the length and ambition of her creation any more than Merriam and Webster are for theirs. The question, the real question, and it seems almost unfair to ask, is whether Have One On Me can justify its own existence.
Continue reading after the jump....
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https://youtu.be/oavMtUWDBTM
I just made your day/week.
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"But the truth is that L.A. was never entirely real anyway, as Steely Dan, Randy Newman, Warren Zevon, Larry David and Alan Ball all understood." - Barney Hoskyns
The above quote is from the 2009 forward of author Barney Hoskyns book Waiting For The Sun: A Rock & Roll History of Los Angeles. It's a quote that anyone who has spent a decent . . .
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Art Museums tell 'sordid tales of artists, lovers & poseurs with cult new wave jangle', or so says duo's label, Woodsist. I'll buy. On Rough Frame, their debut, Art Museums, made up of Josh Alper & Glenn Donaldson (Skygreen Leopards), cop early '80s Pete Townsend moves that, more recently, occasionally sounds like something out of Robert . . .
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I caught Austin's Harlem twice last weekend here in town; Friday night at a house party in Chinatown and the following night at Spaceland. As expected, both shows were beautifully unhinged; the wheels teetering, barely staying on the tracks as the trio bashed out Lenny Kaye approved blasts of garage rock strewn with keen pop sensibilities.
As I've mentioned here in the past, the band has an interesting, if eclectic, ear when it comes to cover material (Royal . . .
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