Spaghetti western tributes, desert noir soundscapes, doomy post-rock, '70s rock grandeur. A guide to the music of Friends of Dean Martinez with pedal steel player Bill Elm . . .
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Even funneled through the warbly quality of these 4-track relics, it begs the question: could the band have released a stripped down, psych-folk affair that worked as majestically as their spacey, electronic flourishes? These cuts envision that hypothetical quite clearly . . .
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The Reflecting Skin looks at explosions of both the emotional and nuclear kind and the ghastly fallout they leave behind. As the film navigates the battlefield of youth and innocence—of false narratives confused for honest declarations, of skeleton-filled closets that no one wants to open—it poetically reminds audiences that the worst nightmares occur during waking hours, committed by flesh-and-blood beings in the glow of golden sunlight . . .
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An autumnal soundtrack, filled with ambient jazz, cosmic drifts, adventurous improvisatory situations and one hell of a Sonic Youth cover. Fill up your Bandcamp (or other digital service) cart and watch the leaves start to fall . . .
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Before the explosion of city pop, before shibuya-key and Tokyo’s collectors mania, there was already Mangekyou itself, the 1975 debut record from Yoshiko Sai, then just a 22 year old dropout from the art school of Kyoto. Approaching the 50 year anniversary of Sai’s legendary debut, WEWANTSOUNDS has announced a reissue that will see the album available outside of Japan for the first time ever . . .
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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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Proving to be a restless sonic chameleon, Adeline Hotel (the moniker of multi-instrumentalist Dan Knishkowy) never makes the same record twice. Inspired by the likes of Jim O'Rourke's transmuting discography, Adeline Hotel's recent records range from fingerpicking guitar, jazz-tinged atmospheric compositions, and orchestral art pop. With nods to the likes of Gillian Welch and John Martyn, his latest, Whodunnit, is a kaleidoscopic autumnal tapestry that brings Knishkowy's precise lyrical talents to the forefront . . .
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Sarah Davachi builds on the past. Renaissance harmonies, the ghosts of Bach, and The Head As Form'd In The Crier's Choir, the myth of Orpheus and Eurydice. To mark the occasion, she guides us through her back catalog, detailing 10 years of drone . . .
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As the son of folklorist, photographer, and artist Fred C. Fussell, Jake Xerxes Fussell spent time on the road with his father, documenting the sound and feel of blues singers, indigenous fiddlers, and performers whose songbooks reached back generations. He joins us to discuss musical deep time and his latest When I'm Called . . .
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As Prairiewolf explores how to play together, only the Korg remains apart, it's programmed beat as distinct and inexorably alien as ever. At a time when computers have begun to usurp the few remaining vestiges of the human, it's good to hear a machine that knows its place . . .
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Ned Collette got his start in Melbourne’s experimental underground, and threads of improvisation and jazz still run through his work. Collette distills complicated ideas into clarity. He does this musically, letting cross currents of jazz and psych run through his folk melodies without muddying their purity. He does it lyrically, unspooling a novelist’s notebook of observation and conjecture in his songs with ease and a startling lack of drama . . .
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Following in the footsteps of the "End Is At Hand" mixtapes, "Country In The Clouds" digs into music from the 60's & 70's Jesus People movement, but this time with a focus on the cosmic country side of the niche subculture. Like holy hippies baptized in the Bakersfield sound, earnest vocals, far out lyrics, and waves of pedal steel beckon listeners to tune in and take the Jesus trip . . .
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Nick Cave wrestles with the darkest parts of the human experience in Wild God, churning up doubt and fear and grief and blasphemy from the muck at the bottom and distilling it, somehow, into transcending clarity. A meditation on humankind’s first crime—the murder of Abel—turns into a rhapsody over frogs jumping up in the rain . . .
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Saxophonist Josh Johnson's name pops up in a wealth of interesting places: he's collaborated with everyone from Meshell Ndegeocello to stadium rockers Red Hot Chili Peppers. He joins us to discuss his jazz fusion epic, Unusual Object and other musical adventures . . .
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A fine fit for the coming turn of the season, Brazilian singer and guitarist Werther’s 1970 self-titled album is a warm and inviting document of gentle, airy bossa-nova, the music lively and eclectic with folk and Tropicália inflections and adorned with sumptuous orchestral arrangements and choral gatherings . . .
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