#spencer cullum

[bandcampsnoop]

6/25/23.

Spencer Cullum is a British musician transplant from Nashville, Tennessee. He's made two Spencer Cullum's Coin Collection LPs - both released via Full Time Hobby (UK).

This has a California psych pop 1970s sound reminiscent of Hollow Hand, Chris Cohen, J. Fernandez and Jacco Gardner. As you might guess from those bands, this is meticulously made, beautiful and lush.

His backing band - Coin Collection -is made up of many musicians, most notably Caitlin Rose.

[doomandgloomfromthetomb]

Lagniappe Sessions :: Sean Thompson's Weird Ears, Spencer Cullum's Coin Collection, Emergency Group, Hollow Hand + Aoife Nessa Frances

Aquarium Drunkard! What a nice website — and I'd be saying that even if I weren't a regular contributor over there, swear to god. For example, the Lagniappe Sessions! Extremely cool cover versions played by extremely cool artists all for the extremely cool price of $0.00. This summer there have been some great ones, so let's get caught up.

Straight outta Nashville, Sean Thompson's Weird Ears give us some country-fried (emphasis on the fried) sounds, including an inspired Tennessee Three-style remake of Lucinda Williams' classic "Lost It." Pedal steel maestro Spencer Cullum's Lagniappe features some of the same Weird Ears crew, putting imaginative spins on Slapp Happy, Soft Machine and Mariangela Celeste.

Meanwhile, Brooklyn's Can-tastic Emergency Group takes things into the outer reaches of interstellar space with what I believe is the Lagniappe Sessions' very first Prokofiev interpretation. It works! And finally, Hollow Hand and Aoife Nessa Frances join forces for two wonderful covers: the Robert Wyatt / Elvis Costello masterpiece "Shipbuilding" and a magnificently hazy rendition of Yo La Tengo's "Always Something." What a gift!

Listening to all of these makes me think that it might be time for a third volume of Lagniappe Sessions on wax ... check out the previous editions here and here. (And hey, I wrote the liner notes for that second volume.)

[sonicziggy]

"Odd Energy" by Echolalia, Spencer Cullum https://ift.tt/mxRiyXp

[sinceileftyoublog]

Andrew Combs Interview: The In-between Space

Photo by Austin Leih

BY JORDAN MAINZER

Andrew Combs has discovered the magic in the stillness. For this singer-songwriter with a family, including young kids, the evening, post-bedtime, represented the do-or-die moment for creativity: He could either kick back and relax or start some new tunes. What he found was that such hours of the night were actually the most fruitful. At ease, Combs was able to tell all kinds of stories, from autobiographical and biographical to fictional, with tones ranging from light, sweet, and romantic to heavy and devastating. The result is the aptly titled Dream Pictures (Chunk of Coal/Missing Piece), a collection of songs that started at home and built up into their own surreal worlds in the studio.

Upon reading the history behind Dream Pictures, I immediately thought of Combs' previous album, Sundays, because it was also named after and born out of a regular schedule. (Combs wrote a song during the week and recorded it on a Sunday.) But in speaking to Combs last month, it became clear to me that Dream Pictures' existence as a product of mental clarity was more casual than it was some newfound, purposeful desire to create. It's also not an album of kitchen table existential dread like Hiss Golden Messenger's Bad Debt; while they contain moments of self-doubt or even anger and violence, the songs on Dream Pictures are attitudinally variable, even within themselves. On "Eventide", Combs' dedication to his wife rife with subtle drums and piano, muted pedal steel, and whooshing synths, he nonetheless delivers lines like, "I passed away deep in my slumber / Far from fury and far grief." The folky, soulful, and textural "Your Eyes and Me" juxtaposes clever, pointed similes--"Your melancholy hair like curtains in between your eyes and me"--with verses that are weighty in their ambiguity. "Swan dive in the water / Down to the bottom of the lake / Visions of you and our daughters / But I drowned them all now, didn't I babe?" Combs asks, as you gasp, wondering who or what (the visions? the daughters themselves?) was exactly drowned. The very same song contains a plea to "remember the good before the bad," a useful mantra no matter the context.

On Dream Pictures, Combs worked again with Dom Billett, the drummer on Sundays. Billett co-produced Dream Pictures and helped Combs flush out the instrumental arrangements, playing drums, bass, piano, and synthesizers and providing background vocals. Overall, Billett's keen ear for atmosphere, combined with Combs' acoustic and electric guitar playing and Spencer Cullum's pedal steel, gave life to the idea of "dream pictures." Opening track "Fly In My Wine", written by the three of them, is an instrumental consisting of upright piano, pedal steel, and field recorded audio from Richard Serra's installation at the Bilbao Guggenheim. "To Love" is another sonic experiment, one not too far removed from Combs' initial demo, Combs delivering high-pitched, starry-eyed mantras over analog synths, electric guitars, and noise. "The Sea in Me" binds scraped acoustic guitars with an 8-bit synth line. These off-kilter sound collages effectively represent the fragility of memories and dreams. Even on comparatively traditional pop songs like the ballad "Point Across", the echo and delay on Billett's snares feel like time being bent. And when the instrumentation itself is cleaner, it effectively contrasts Combs' unhinged narrator: On Burton Collins co-write "I'm Fine", an electric guitar and Rhodes jam, Combs plays the part of the lovelorn person denying his own heartbreak. "Do I ever touch your heart at all?" he asks, "Or are you busy laughing while I'm punching the walls?"

When I spoke to Combs, he was again in the stillness, but he wasn't working. He was on a beach in the Florida panhandle, on a vacation with his family and parents, getting some much needed rest before moving again. Starting tomorrow, Combs will embark on a two-and-a-half-week tour of the UK, Ireland, and the Netherlands, armed with an acoustic guitar, drum machine, and keyboards. Though Combs is known as a Nashville singer-songwriter, his first love was electronic music, and these days, he writes most of his songs on piano as opposed to guitar. And if the sparkling smog of Dream Pictures is any preview, he might just be able to shed that Americana label once and for all. Below, read our conversation, edited for length and clarity.

Photo by Austin Leih

Since I Left You: Sundays was titled and formed around a dedicated day of the week that you sat down and recorded the song you had written over the past seven days. Dream Pictures is sort of similar in that it was inspired by your periods of creativity after your kids went to sleep. Is there something that's special in general about setting aside consistent time for music?

Andrew Combs: Honestly, it started out of pure necessity. It's [when] I can have time alone. I don't know how conscious I [am] of it, but at this age, I'm trying to stay more present and really take in every day and what I'm grateful and thankful for. That doesn't necessarily mean that the songs are all about that, but [I'm] trying to be cognizant of the world that I'm living in now. That time of day is when [songwriting] is easiest to do, [when] I'm still with it enough that I can formulate creative output that may or may not mean something.

SILY: Let me ask you a couple questions about what the songs on Dream Pictures are about. First, I'm assuming there are some songs on here that are not autobiographical.

AC: Yeah. I do feel like pieces of me are in every song, but "The Sea in Me" is about two friends going through a breakup with each other. That's not about me at all, really, but there are things I identify with in that song from my history.

SILY: Even if songs aren't about you, however, they have that same sort of biographical presence, that "moment in time" feel.

AC: Listening back now, I definitely think that's correct. They are little snapshots in time.

SILY: Quite literally, the opening track, "Fly In My Wine", has field recordings, which I find, when mixed with abstract instrumentation, to be very dream-like, which would go along with the theme of the record. When did you realize you wanted to open the album with something like that?

AC: When I figured out the album title was going to be Dream Pictures. I'm right there with you in that field recordings mixed with abstract music feels dream-like. I also really love the song "Eventide". I wanted it to be the first song, but I didn't feel like just starting [the record] with the song itself. I wanted to have some sort of bed to dip your toes into.

SILY: "Eventide" is, on the whole, a dedication to your wife, but one can read yourself working through some troubles. A line like, "I passed away deep in my slumber / Far from fury and far grief"--I don't know what you're referring to, but both within the album and within certain songs themselves, there are moments of struggle or darkness.

AC: Totally. I'm always looking for the darkness in the light and the light in the darkness. Maybe I should try to accept the light when it's light and the dark when it's dark.

SILY: But the former is more true. It speaks to the complexity of things, that things aren't one or the other.

AC: Sure. It would be nice, though, to live in the light.

SILY: If we could figure it out, everybody would be doing it.

AC: That's right.

SILY: What's the story behind "Heavy the Heart"?

AC: Without getting too namey, it's sort of about Elvis, but it's really about a couple people I've known within the music industry who burned it at both ends. They've all been tragic people deep inside, destined for a large and horrific crash.

SILY: Spencer Cullum's pedal steel stands out to me throughout the record. Normally, pedal steel stands out in general by virtue of its sheer quality, but on a lot of this album's songs, it's really subtle. Was that a product of Spencer's choice, the mixing, or something else?

AC: It's a combined brainchild of Spencer, myself, and Dom. Pedal steel is a beautiful instrument, but being in Nashville and starting our careers in the Americana sphere and hearing pedal steel all the time, it can be overplayed and overused. We three have all gravitated towards simplicity and stripping back instead of layering and putting a lot of stuff on top. That being said, on a song like "Mary Gold" or "Genuine and Pure", we really wanted it to stand out for a solo section. I know Spencer's taste is similar, and Dom's is probably the same, but I really like Steely Dan pedal steel instead of alt country [pedal steel,] a more tasteful, thought-out thing. Some of [the pedal steel subtlety] is in the mixing, but I'd say 90% of it is where we chose to put it.

SILY: The instrument has become really prevalent in indie rock to the point where so much prominent indie rock is basically alt country. You'd be considered more of an Americana artist, accurate or not, but Dream Pictures is closer to me to Steely Dan than it is alt country.

AC: Yeah. I know how I got into [Americana,] but I don't necessarily know how I'm gonna escape those tags. [laughs] I'll let time deal with that.

SILY: You've definitely never released a song like "To Love", which is electronic. Can you tell me how that song came to be from start to finish?

AC: I made demos for a lot of [the Dream Pictures] songs on my computer at home. I have a really simple setup with the MIDI controls, microphone, and guitars. That was the only song for which we actually used a lot of the demo. I didn't think or know if it was gonna fit. I still don't really know, but I like it a lot. I definitely feel like there's a handful of songs that I really like that I have stowed away in that vain.

When I first got into music, I was into electronic music. Besides hearing The Beatles and knowing it was something special, when I first started making my own compositions or songs, it was all electronic stuff. It's something I've always loved to do. I haven't always felt confident enough to put it on a record. I definitely feel like I'm doing it more and more. [On the] "To Love" demo, I had done the drums and some of the keyboards and the guitar solo and the vocals. [Dom] added percussion, more keys, and real bass. I don't have a real bass, so I just played bass on the keyboard. It's definitely different than the rest of the record.

Photo by Austin Leih

SILY: I wanted to ask you about "Table For Blue", which seems like a very sweet, simple, almost low-stakes song, in the best way. Is that how it fits within Dream Pictures, providing levity?

AC: Yes. It's the kind of song I've always been trying to write since I started writing songs. It is a low-stakes songwriting song. I'll always try and write songs like that, but they're fewer and farther between these days.

SILY: You co-wrote "I'm Fine" with Burton Collins. Can you tell me about your working relationship with him?

AC: Burton and I have written a lot since 2011 or 2012. For six years, I had a publishing deal where I was co-writing all the time for people on Music Row. Burton is one of the very few people I've maintained a working relationship with. He's mostly an actor. He doesn't play or sing. But he's a brilliant lyricist. He writes with Doja Cat and also collaborates with country people. He did a kids play. He likes to keep his fingers in as many things as possible. We've written a lot over the past ten years and try to do so once or twice a year.

Dream Pictures cover art

SILY: How did you come up with the front cover for the album? Lately, you have a lot of experimental photographs of yourself adorning your records.

AC: It's a photo my buddy Austin Leih took. He's done videos for me in the past and did the "Eventide" visual accompaniment. I was just messing with the picture and the idea of "dream pictures" and the in-between space, [such as] between dreaming and sleeping. I might have hit the nail too much on the head.

SILY: It doesn't have to be subtly symbolic. It can just look cool.

AC: Good. [laughs]

SILY: You co-designed the record cover, too. I know you paint, but do you do design work?

AC: My dad is a retired graphic designer, so I grew up knowing that world. I've always dabbled in it, but I've never had the money to buy the Adobe suites and have never had the time or want to learn how to do it technically well. It's something I do find pleasing to toy around with. I didn't have much money behind this record and Sundays, so [I tried] to do as much as I could by myself.

SILY: Will your upcoming tour be the first time you've played these songs live?

AC: I've played a few of them at a show here and there, trying them out, but yeah, in terms of a formal setting. I'm playing solo, so it's not going to be a full record experience, but I'm trying to incorporate drum machine and keyboards. I'm so bored by the [just] acoustic guitar thing.

SILY: I'm sure it'll prove an artistically satisfying challenge to adapt the songs in that way, too.

AC: Totally. It's actually been really fun.

SILY: On what instrument did you write most of the Dream Pictures songs?

AC: A lot of them were on keys. I'm not a great keyboard player. I just kind of plunk along with chords. Dom did the more elaborate arrangements. I have an old RMI Electra-piano and mess around on that a lot. There are certain things that only guitar can do, but I've grown bored with it being the thing I reach for every time. I think it's nice to start with keys or even a drum beat to change things up.

SILY: Are you planning on touring in the US?

AC: I don't know. I'd like to do some stuff. I can't really foresee doing a real long tour, hitting smaller markets, because I can't afford it. I would at least like to do New York, Philly, the East Coast big city stuff. Do a Nashville show, maybe go out West. It might also depend on if a big artist likes the record and wants to take me out to do some opening sets. I'm always keen on that in the States. It's a lot easier that way.

SILY: That makes sense. You don't have to do a ton of the planning yourself.

AC: And if they have an established audience you haven't tapped into. I did some shows with The Milk Carton Kids, and it was the best opening slot ever, because their crowd is quiet and respectful and they listen. What I do is subtle and can be quiet, so it worked. Then you have those people on your side.

SILY: Are you writing right now?

AC: The time period after you make something and before it comes out is actually really productive for me. It's a time to dream and mess around without a deadline or expectations. I don't know what exactly it is, but I have ideas floating around for what's next. Who knows whether it will stay that way or morph into something different. A lot of my time right now is being spent getting ready for the tour.

SILY: When you're making music, do you try to not consume other media? Or are you pretty good at compartmentalizing and not letting other records, TV shows, movies, or books affect you?

AC: I like learning and listening and seeing new stuff all the time, so I keep it going at all times.

SILY: Anything recent you've liked?

AC: I read [Daniel Mason's] North Woods, which was really beautiful. I'm re-reading East of Eden, which is one of my favorites. The King Hannah record is really cool. I'm listening to these Romanian folk songs, which are mostly a capella with maybe some sparse instrumentation, but they're really cool. I wouldn't know how to tell you what they're called, though, because they're in a different alphabet. I don't watch a ton of TV. I really liked The Zone of Interest.

Photo by Austin Leih

Tour dates

8/22: The Keep, Guildford, UK 8/23: The Railway Inn, Winchester, UK 8/24: Stanford Hall, Bottesford, UK 8/25: Caroline Street Social Club, Shipley, UK 8/26: Kazimier Stockroom, Liverpool, UK 8/27: St Mary's Creative Space, Chester, UK 8/28: The Workmans Cellar, Dublin, Ireland 8/29: Cleere's Bar & Theatre, Kilkenny, Ireland 8/30: The American Bar, Belfast, UK 8/31: Run of the Mill 2024, Paisley, UK 9/1: Sneaky Pete's, Edinburgh, UK 9/3: Water Rats, London, UK 9/5: De Doelen, Rotterdam, Netherlands 9/6: Luxor Live, Arnhem, Netherlands 9/7: Burgerweeshuis, Deventer, Netherlands 9/8: Sugar Mountain x Indiestad Met Festival, Amsterdam, Netherlands 9/9: Muziekgebouw Eindhoven, Eindhoven, Netherlands

[yewknee]

Spencer Cullum in LA. A lovely show poster

[maquina-semiotica]

Spencer Cullum, "Cold Damp Valley"

[cbcruk]

Spencer Cullum - Kingdom Weather (feat. Yuma Abe)

[dustedmagazine]

Spencer Cullum’s Coin Collection — Spencer Cullum’s Coin Collection 2 (Full Time Hobby)

https://spencercullumscoincollection.bandcamp.com/album/spencer-cullums-coin-collection-2

Spencer Cullum’s first album with his band Coin Collection was released back in late 2020, and a year later it was deservedly re-released on a bigger label with a bonus track. Jennifer Kelly reviewed the original release for Dusted, praising the music as “lovely, intricate and full of ease.” The same most certainly applies to Cullum’s new album, which arrives seemingly unaffected by the pandemic, bearing a bucket-load of charm, a playful demeanor, and an unashamedly retro sensibility that feels both genuine and deferential.

The most immediate sign of this album’s retro leanings is the way in which the majority of the instruments (drums, guitar, piano, voice, woodwinds) are either panned hard-left or hard-right, leaving the bass in the center to anchor the music. Modern production has largely abandoned such an approach, which only underlines how the music feels like it’s been unearthed from another time. This feeling is only intensified by Cullum’s voice as he speak-sings his way through the songs, his Romford, East London, accent to the fore.

Given Cullum is an Englishman living in Nashville, it’s unsurprising that the record’s two singles are about the weather. “Kingdom Weather” is a beatific celebration of care-free sunny days, with some gorgeous interplay among  bass, electric guitar, and flute. While the music of “Cold Damp Valley” is lighthearted and playful, much like the theme tune to a long-lost children’s TV show, the lyrics survey England’s seemingly endless overcast skies: “It’s always bloody freezing / There’s mist in the corners of the ceiling.” Other highlights include the serenely bummed-out jazz-folk of “Green Trees,” and “Out of Focus,” which revisits the Olivia Tremor Control sounds that emerged on Cullum’s debut thanks to some strident clarinet lines. 

To underline the retro vibes of the album being a two-sided experience, best suited to listening on vinyl, Cullum opens Side B with a loose, exploratory instrumental entitled “The Three Magnets” (the title perhaps referencing the three single-coil pickups of the Fender Stratocaster, the tones of which are all over these songs). Whereas the motorik-leaning “Dieterich Buxtehude” played a similar role on Cullum’s debut, “The Three Magnets” focuses more on textural guitar work and the liberal application of echo effects. It certainly invites the listener to reflect on what it might be like as a fly on the wall during the band’s more out-there jam sessions.

This is largely what makes Spencer Cullum’s Coin Collection so alluring: they’re a gang of skilled musicians gathered to execute Cullum’s charming folk-rock vision, but they’re perpetually poised to launch into more explorative realms.

Tim Clarke

[beansonbread2]

BEANSONBREAD AWARDS 2023 - BEST ALBUM

AWARD NO.2 - BEST ALBUM OF 2023

PAST WINNERS

2022 > Jockstrap - ' I Love You Jennifer B' (see full list HERE)

2021 > Self Esteem - ‘Prioritise Pleasure’ (see full list HERE)

2020 > The Flaming Lips - ‘American Head’ (see full list HERE)

2019 > Self Esteem - ‘Compliments Please’ (see full list HERE)

2018 > Kero Kero Bonito - ‘Time ‘n’ Place’ (see full list HERE)

2017 > Richard Dawson - ‘Peasant’ (see full list HERE)

2016 > Blood Orange - ‘Freetown Sound’ (see full list HERE)

2015 > Holly Herndon - ‘Platform’ (see full list HERE)

2014 > FKA Twigs - ‘LP1′ (see full list HERE)

2013 > These New Puritans - ‘Field Of Reeds’ (see full list HERE)

2012 > Django Django - ‘Django Django’ (see full list HERE)

2011 > Shabazz Palaces - ‘Black Up’ (see full list HERE)

2010 > These New Puritans - ‘Hidden’ (see full list HERE)

2009 > Animal Collective - ‘Merriweather Post Pavilion’ (see full list HERE)

2008 > Wild Beasts - ‘Limbo, Panto’ (see full list HERE)

2007 > Animal Collective - ‘Strawberry Jam’ (see full list HERE)

2006 > Safetyword - ‘Man’s Name Is Legion’ (see full list HERE)

2005 > Animal Collective - ‘Feels’ (see full list HERE)

2004 > Devendra Banhart - ‘Rejoicing In The Hands’ / ‘Nino Rojo’

2003 > Dizzee Rascal - ‘Boy In Da Corner’

2002 > The Streets - ‘Original Pirate Material’

2001 > The Beta Band - ‘Hot Shots II’

2000 > Outkast - ‘Stankonia’

1999 > The Beta Band - ‘The Beta Band’

1998 > The Beta Band - ‘The Three EPs’

1997 > Radiohead - ‘OK Computer’

1996 > Beck - ‘Odelay’

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THE RULES - No Re-issues, Live Albums, Compilations, or EPs.

—

SPECIAL MENTIONS for these things that don’t really live on the main lists.

Bulbils no.72 > 79

Bulbils ‘Map’

EP/64 'EP-64'

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WORTH A MENTION (in no order) - A bunch of albums i enjoyed but didn’t quite make the final lists and others i just didn’t hear enough to be considered properly. 

Matmos / Eartheater / Tkay Maidza / Xiu Xiu / Ashnikko / Arthur Russell / Spellling / Cornelius / Liv.e / John Bence / Daniel Blumberg / Thy Slaughter / Two White Cranes / Billy Woods & Kenny Segal / L’Rain / Callum Easter / Cleo Sol / Holly Waxwing / Doon Kanda / DELUXE100 / ‘Barbie’ OST / Khan & Neek / Mui Zyn / Steady Holiday / Jamie Branch / Mitski / Mac DeMarco / Slowdive / Underscores / Armand Hammer / James Blake / Dutch Uncles / DJ Brittle / Slug / The Go! Team / Sofia Kourtesis / Kali Uchis / Sampha / Yussef Dayes / Unknown Mortal Orchestra / King Creosote / Niecy Blues / Lankum / The HIRS Collective / Alexia Avina / Altin Gun / Sulka / Spektral Quartet, Julia Holter & Alex Temple / L.T. Leif / Maria BC / Tom Rasmussen / Wednesday / Tim Hecker / HMLTD / Andrew Hung / Blonde Redhead / Frost Children / Heavy Lungs / Fire-Toolz / Jim Legxacy / Durand Jones / Clark / Teenage Fanclub / Galen Tipton / Feeble Little Horse / Grouptheraphy / Grian Chatten / Asake / Speakers Corner Quartet / George Clanton / PJ Harvey / Jonatan Leandoer96 / Fenne Lily / Terry / The Coral / Modern Nature / Snooper / Gabriels / Little Dragon / Being Dead / Earl Sweatshirt & The Alchemist / Noname / Overmono / Olivia Rodrigo / Nation Of Language / Caro / Irreversible Entanglements / Devendra Banhart / Say She She / The Streets / Vanishing Twin / BC Camplight / Ethan P. Flynn / Withered Hand / ThisisDA / Sarahsson / Blanck Mass / Jadu Heart / Hotel Lux / Emily Breeze / Chloe / Feather Beds / Margaret Glaspy / Nature Of Language / WaqWaq Kingdom / Bo en / Patten’ / David Holmes / Belle & Sebastian / Cloth / Phoenix / The Golden Dregs  / Julie Byrne

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2023 RUNNERS UP (in no order)

Laurel Halo ‘Atlas’ 

Ryuichi Sakamoto ‘12’

John Cale ‘Mercy’

Felicita ‘Spalarkle’

Hyperdawn ‘Steady’

Moin ‘Paste’

Spencer Cullum ‘Spencer Cullum’s Coin Collection 2’

MC Yallah ‘Yallah Beibe’

Alabaster DePlume ‘Come With Fierce Grace’ 

Kwes ‘Rye Lane’ OST

Bianca Scout ‘Heart Of The Anchoress’

James Yorkston, Nina Persson & The Second Hand Orchestra ‘The Great White Sea Eagle’ 

Sweet Baboo ‘The Wreckage’

ML Buch ‘Suntub’

RS Tangent ‘When A Worm Wears A Wig’

Blockhead ‘The Aux’

Martha Ffion ‘The Wringer’

Mark Jenkin ‘Enys Men’ OST

Yo La Tengo ‘This Stupid World’

Tennis ‘Pollen’

Bar Italia ‘The Twits’

Klein ‘Touched By An Angel’

Pigs Pigs Pigs Pigs Pigs Pigs Pigs ‘Land Of Sleeper’

David Brewis ‘The Soft Struggles’

Lorraine James ‘Gentle Confrontation’

Black Country, New Road ‘Live at Bush Hall’

Mandy, Indiana ‘I’ve Seen A Way’

Firestations ‘Thick Terrain’

Memotone ‘How Was Your Life?’ / ‘Illuminations Part I-III w/ Chris Yates’

Janelle Monae ‘The Age Of Pleasure’

Girl Ray ‘Prestige’ 

Vagabon ‘Sorry I Haven’t Called’

Gruff Rhys ‘The Almond And The Seahorse’

Yves Tumor ‘Praise A Lord Who Chews But Which Does Not Consume..’

Sleaford Mods ‘UK GRIM’

Podcasts ‘Podcasts’

Noah Radley ‘Devoid Of A Contact Or Contextual Clues’

Deerhoof ‘Miracle-Level’

H Hawkline ‘Milk For Flowers’

Mary Lattimore ‘Goodbye, Hotel Arkada’

Jessie Ware ‘That! Feels Good!’

Feist ‘Multitudes’

Weird Wave ‘Lost Map Presents Weird Wave’

Blur ‘The Ballad Of Darren’

Avalon Emerson ‘& The Charm’

Roisin Murphy ‘Hit Parade’

Actress ‘LXXXVIII’

Amy May Ellis ‘Over Ling And Bell’

Jam City ‘Jam City Presents EFM’

King Krule ‘Space Heavy’

Peter Brewis ‘Blowdry Colossus’

Amaarae ‘Fountain Baby’

Death’s Dynamic Shroud ‘After Angel’ / ‘Keys To The Gate’ / ‘Midnight Tangerine’ / ‘Transcendence Bot’

This Is The Kit ‘Careful Of Your Keepers’

Decisive Pink ‘Ticket To Fame’

Travis Scott ‘UTOPIA’

James Holden ‘Imagine This Is A High Dimensional Space Of All Possibilities’

Willie J Healey ‘Bunny’

CHAI ‘CHAI’

James Ferraro ‘Concerto For Strings’

Sufjan Stevens ‘Javelin’

Shabazz Palaces ‘Robed In Rareness’

Bas Jan ‘Back To The Swamp’

Free Love ‘Inside’

John Medeski ‘The Curse’ OST

Brother May ‘Pattern With Force’

Langkamer ‘The Noon And Midnight Manual’

Uh ‘Humanus’

Patten ‘Mirage FM’

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MY TOP 50 ALBUMS OF 2023

50. Robbie & Mona ‘Tusky’

49. Lonnie Holley ‘Oh Me Oh My’

48. MF Tomlinson ‘We Are Still Wild Horses’

47. Oliver Coates ‘Aftersun’ OST

46. Joanne Robertson ‘Blue Car’

45. Yeule ‘Softscars’

44. Lil Yachty ‘Let’s Start Here’

43. Robin Allender ‘Underground River’

42. PinkPantheress ‘Heaven Knows’

41. ANOHNI & The Johnsons ‘My Back Was A Bridge For You To Cross’

40. Joanna Sternberg ‘I’ve Got Me’

39. Bonnie Prince Billy ‘Keeping Secrets Will Destroy You’

38. Andre 3000 ‘New Blue Sun’

37. Kinlaw ‘WELD’

36. Memotone ‘Tollard’

35. Cleo Sol ‘Gold’

34. Mun Sing ‘Inflatable Gravestone’

33. Dorian Electra ‘Fanfare’

32. Bar Italia ‘Tracey Denim’

31. Panda Bear & Sonic Boom ‘Reset In Dub’

30. Kara Jackson ‘Why Does The Earth Give Us People To Love?’

29. Avey Tare ‘7s’

28. Kate NV ‘WOW’

27. Kelela ‘Raven’

26. Danny Brown ‘Quaranta’

25. Jessy Lanza ‘Love Hallucination’

24. 100 gecs ‘10,000 gecs’

23. Christopher Bear & Daniel Rossen ‘Past Lives’ OST

22. Quade ‘Nacre’

21. Django Django ‘Off Planet’

20. Tirzah ‘trip9love…???’

19. Nourished By Time ‘Erotic Probiotic 2’

18. Das Koolies ‘DK.01’

17. Jockstrap ‘I <3UQTINVU’

16. Lana Del Rey ‘Did You Know That There’s A Tunnel Under Ocean Blvd’

15. Fever Ray ‘Radical Romantics’

14. Hannah Diamond ‘Perfect Picture’

13. Water From Your Eyes ‘Everyone’s Crushed’

12. Rozi Plain ‘Prize’

11. Young Fathers ‘Heavy Heavy’

10. Yaeji ‘With A Hammer’

9. Pozi ‘Smiling Pools’

8. Animal Collective ‘Isn’t It Now?’

7. Slauson Malone 1 ‘Excelsior’

6. Steve Mason ‘Brothers & Sisters’

5. The Lemon Twigs ‘Everything Harmony’

4. Oneohtrix Point Never ‘Again’

3. Caroline Polachek ‘Desire, I Want To Turn Into You’

2. JPEGMAFIA & Danny Brown ‘Scaring The Hoes’

1. Squid ‘O Monolith’

[aquariumdrunkard]

The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35)

Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.

Intro ++ Cotton Jones – I Was Stoned By The Choir ++ Phosphorescent – The Quotidian Beasts ++ Woods – Weekend Wind ++ Rose City Band – Me And Willie ++ Steve Gunn – The Lurker ++ Cass McCombs & Steve Gunn – Wild Mountain Thyme ++ Cass McCombs – Morning Star ++ Amen Dunes – Splits Are Parted ++ Anna St. Louis – Fire ++ Jake Xerxes Fussell – Frolic ++ Brightblack Morning Light – Miwok Shapes ++ Jake Xerxes Fussell – Have You Ever Seen Peaches Growing On A Sweet Potato Vine? ++ Quilt – Cowboys In The Void ++ John Andrews & The Yawns – Drivers > Johnny’s Cookbook ++ Kacy & Clayton – The Siren’s Song ++ Spencer Cullum & Erin Rae – Betwixt And Between ++ The Echocentics – Canyon ++ Cotton Jones – I Was Stoned By The Choir ++ Kacy & Clayton – Springtime Of The Year ++ Tobacco City – Blue Raspberry ++ Color Green – In My Mind ++ Scott Hirsch – No No ++ Natural Child – Out In The Country ++ William Tyler & The Impossible Truth – Area Code 601 (Live)

Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support via our Patreon page.

[erinthesails]

"seaside" by spencer cullum is such a quintessentially ofmd song to me that i seriously forget it wasn't actually in the show

[theam-cjsw]

The AM: March 6, 2023

This week’s AM features a few happy returns, with new music from AM favourites Nabihah Iqbal, Mega Bog, and Benoit Pioulard (to name a few). Plus a throwback to classic mid-2000s chamber pop, violins played in the LA river, a David Axelrod track that’s technically credited to someone else, Morabeza Tobacco getting as close to the "Good Times" bassline as is legally allowed, and a healthy mix of atmospheric sounds, post-punk raves, experimental compositions and other offbeat easy listening for a Monday morning.

Listen on Soundcloud

Hear it at CJSW.com

Other listening links

Ongoing Spotify playlist (to avoid my commentary)

Tracklist after the break.

Hour One:

réfraction Onur Tarçin • Single

Ellipses Andrew Bird • Echolocations: River

A Constant Source of Joy and Fascination waivestate • Sprout Sessions

Vivid Elskavon • Origins

Bruises Earth Trax • Closer Now

Sweltering Drive Masahiro Takahashi • Humid Sun

Our Future Salad Days Dreamsploitation • The Soft Focus Sound of Today

Synchronized Swimmers Contagious Yawns • Dream of Consciousness

Bolan Muppets Glissandro 70 • Glissandro 70

Hour Two:

Les Points Cardineaux YouYourself&i • L'Amour des Anoures

Betwixt & Between Spencer Cullum, featuring Erin Rae • Spencer Cullum’s Coin Collection 2

Walking Through Morning Dew Shana Cleveland • Manzanita

Synesthetics L.T.Leif • Come Back To Me, But Lightly

O Torto Santo Bike • Arte Bruta

Tonight’s Episode Yo La Tengo • This Stupid World

Elementary Particles The Hylozoists • La Fin du Monde

Warning Against Judging a Christian Brother The Hylozoists • La Fin du Monde

The Edge David McCallum • Music: A Bit More of Me

I Have Been Alone The Common People • Of The People / By The People / For The People

Way Far High Season • The Call

Anniversary Dawn to Dawn • Postcards from the Sun to the Moon

Hour Three:

Line in the Sand Brian Eno, Hot Chip, goddess • Single

The Void Benoit Pioulard • Eidetic

Manitou (Single Edit) Zoon • Bekka Ma'iingan

The Clown Mega Bog • End of Everything

The World Couldn’t See Us Nabihah Iqbal • DREAMER

Mariana's Web Uncanny Valley • Fevering Stare

Saturnus Morabeza Tobacco • Shadow of the Cherry

Destiny Decisive Pink • Ticket to Fame

NST Gnoomes • Ax Ox

High and Low Shirley & The Pyramids • Maid of Time

Medicine Road Fog Lake • Dragonchaser

[woodencup]

Celestial Jest

A playlist of old and new Psych rock, pop and folk

The Black Angels - Empires Falling Heron Oblivion - Your Hollows Quicksilver Messenger Service - Who Do You Love (Demo Version) Pisces - Dear One Ghost Woman - Broke Black Market Karma & Tess Parks - The Sky Was All Diseased Allah-Las - Prazer Em Te Conhecer Lyme & Cybelle - Follow Me RF Shannon - Badlands The Deep Six - Rising Sun Haunted Leather - Quaaludes Spencer Cullum's Coin Collection - Road

[maximuswolf]

Anybody like this genre?

Anybody like this genre? Id say it's indie folk/psychedelic-ish, but I'm not sure. I literally ascend when I hear them Bendigo Fletcher🔥, The Copper Children, Runnner, Flipturn🔥, Spencer Cullum's Coin Collection, Anelo de Augustine🔥--- my soul cries when they sing broLove to know if other people listen to them😌 Submitted May 19, 2024 at 10:49PM by Socio_Spencerrr https://ift.tt/xYPp4RW via /r/Music

[dunhamrc]

Spencer Culllum - Spencer Cullum's Coin Collection