A deeply sighing cut of downtempo soul, the emotional gravitas on Cinnamon Soulettes’ “I’ll Show You How” is only amplified by the mystery surrounding its actual recording . . .
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At one point while listening to Anadol’s latest LP, I became overwhelmed with the sensation of descent. At 15 minutes, the fourth track of Felicita seems intentionally sequenced as the arrhythmic heart of the record. There is a bell, a heartbeat, a train, something scratching, something breathing, something screaming. It’s a provocative mix which rewards an attentive headphone listen . . .
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Yo La Tengo’s latest LP, This Stupid World, is another in a long line of masterpieces — this is a band that’s been so good for so long that it’s easy to take them for granted. But let’s not do that. As a little celebration of YLT, we’ve put together a mix of deep cuts stretching from the late 1980s to somewhere close to the present day. They’ve got a lot of this kind of thing. There are b-sides, bonus tracks, covers, instrumentals, guest appearances, remixes, live cuts, film scores … even the rejected jingle . . .
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Though the grooves of Rose City Band's Garden Party go down easy, when he was coming of age in Wallingford, Connecticut in the 1980s, Ripley Johnson defined himself by what he hated. “Being an adolescent you’re just against everything, so we were against all of the synth pop and '80s haircuts,” says Johnson. “Everything was neon and there were yuppies and Reagan . . .
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Sifting through the sands of time. It's time for Radio Free Aquarium Drunkard. This month, resident DJ Chad DePasquale opens up with New Happy Gathering, featuring jazz-funk, art-rock, sound experiments, and private-press curios. Next, Jason Woodbury’s Range and Basin offers long form, sprawling compositions spanning jazz, jam, psychedelia, and more. Then, Doom and Gloom from the Tomb with Tyler Wilcox, featuring a Yo La Tengo deep cut extravaganza from me this month ... rarities, oddities, live cuts, covers, collabs, guest . . .
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Via Brazil, polyrhythmic psych-laced orchestral steam heat. A kitchen sink kind of voodoo, complete with ambient bird calls, torrents of wind, hits of brass, and a bevy of unidentified "effects," 1968's Krishnanda is indeed greater than the sum of its parts. Genre-defying, the album's thirty minute runtime touches upon myriad modalities and is now back in print via the Brighton, UK based Mr. Bongo . . .
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Spanning 1998-2020, Once Again In The World is a collection of rare and unreleased tracks from Will Oldham as Bonnie 'Prince' Billy. Released last year, via the Portland, OR based Antiquated Future Records, the set acts as a companion the label's other Oldham offering, Time From Work To Go (Selected Songs, 1992-1998), gathering fifteen curios from the previous Palace era . . .
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Yeti went down in the psychedelic annals as a movement defining juggernaut. The four sides that constituted the behemoth opened the gates of kosmische hell—the stamp of approval that acid-drenched weirdness could live on well past the 1960s, even if the adherents to such gospel were relegated to pop-music obscurity. On Tanz Der Lemminge, we’re greeted by the familiar echoes of psychedelia, but not as we’ve known it . . .
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Originally released by Sub Pop in 1998, The Pernice Brothers' Overcome By Happiness was a leap of faith. Joe Pernice joins us to discuss how the record came together on the occasion of New West's expansive 25 anniversary edition and what promoted him to chase the chamber pop sounds he heard in his head . . .
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Amplitude modulation 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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Funk is its own reward. Talkbox Stevie Wonder and co. performing on the Soul! television show, WNET, New York, November 19, 1972. "Papa was a Rolling Stone" / "Superstition" / "Maybe Your Baby" / "Superstition Outro . . .
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Our guest this week is mystic poet, writer, publisher, and performance artist Janaka Stucky, who’s been hailed as “extraordinary" and "riveting” by no less an occult authority than Jimmy Page of Led Zeppelin. Today on Transmissions, he discusses adapting his epic poem Ascend, Ascend with Lori Goldston, and reflects on the dread-soaked nature of reality . . .
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Ital and vital. Produced by Joe Gibbs and engineered by Errol Thompson, Prince Far I, aka the Voice Of Thunder, dropped this slab of essential roots reggae in 1976. His grizzled ropeadope delivery scorching the LP's ten tracks, Far I's epic toasting (or chanting, as he preferred) is on full display riding a wave of rumbling bass, subtle dub effects, percussion and organ . . .
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Jon McKiel is responsible for one of our favorite records of 2020, the wildly hypnotic collection of songs that is Bobby Joe Hope. In anticipation of its follow-up, we caught up with the Canadian musician as he lays down his inaugural Lagniappe Session, paying tribute to both a '70s childhood AM radio staple and what is sure to become a future classic . . .
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“Have you ever thought of dancing as moving into time?” asks Nico Paulo, a kaleidoscopic, technicolor shuffle of horns, guitars, and percussion swirling across her breathy tenor. If you haven’t, that will likely change after listening to the St. John’s-based, Portuguese-Canadian artist’s self-titled debut. A bright, sweeping album of Tropicália-inflected jazz-folk & dream-pop . . .
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