It's time for another issue of our weekly newsletter, Sidecar. A round up of this week at Aquarium Drunkard, pop culture recommendations, and more.
Last we heard from the mysterious Swedish collective Goat, it was the spring of 2018 with the “Let It Burn” b/w “Friday, Pt. 1” 7”, combining the band’s doomy and self-proclaimed “best song,” written for a short film fittingly featuring a sacred goat pit against evil pagans, with a studio outtake jam that lives in a decidedly more placid space, transmitting warm, astral, free-jazz tones. Those two tracks have now found a home on Headsoup—a collection of standalone singles, B-sides, digital edits and never before heard songs from across the group’s near-decade practice of psychedelic voodoo, along with two brand-new tracks recorded towards the end of last year.
Still in a Halloween mood? Don't miss last week's installment of the The Aquarium Drunkard Show. Listen on-demand via the SIRIUS/XM app.
Roberto Carlos Lange of Helado Negro joins us for the latest episode of Transmissions. His new album of electronic bliss pop, psychedelic ambient, and soulful love songs is called Far In. Lange joined host Jason P. Woodbury for a talk about Marfa, his journey through the world of independent music, expansive views of consciousness, and the early days of his musical practice—as well as much more.
An illustrious example of the power and influence of “The Monster’s Golden Era,” The Black Cat (1934) is arguably one of the most significant horror films from its time. But the enduring significance of the film is its influence on the horror genre to come.
Excavated from a box of tapes during lockdown, and sonically self-described as stoned, sunbaked and windburnt, LA’s Oog Bogo’s EP 2 vibrates on a woozy and wavy, lo-fi plane. Mixed and mastered by Ty Segall, and released on his God? Records imprint, the four tracks recall psych-folk whiffs of homespun Barrett and Ayers.
Doctor Death isn’t your typical Halloween movie. For starters, it’s more sci-fi than horror. Nevertheless, you’d be hard-pressed to find a movie that better captures the childhood thrill of dressing up in cool costumes, whipping up a batch of fake blood, pulling pranks with your friends, and trying to gross out some adults. In that sense, Doctor Death is quintessential Halloween stuff.
The self-titled debut from Sweden’s Dina Ögon is, at its root, a collaboration between vocalist Anna Ahnlund and multi-instrumentalist Daniel Ögren. Having played with fellow Swedish acts Anna von Hausswolff and Sven Wunder, Ögren is well tapped into his local musical community and thus invites a sharp cast of collaborators on this Song a Song Fighter release, featuring all manner of instrumentation to color the music with strings, vibraphone, reeds, and organ.
Orlando brothers Andy and Edwin White—a warm, enveloping duo known as Tonstartssbandht—return with Petunia, their follow-up to 2017’s Sorcerer, a record we dug for its dynamic and invigorated orbit of jammy neo-psych-folk, cloud-bound vocal harmonies, and spacey ambient soundscapes.
For the better part of three decades, Jason Martin has recorded and released music as Starflyer 59. Though the shoegaze classic Gold rightfully earned Martin a spot on Pitchfork’s 50 Best Shoegaze Albums list, he’s steadfastly maintained a low profile. Martin has been wryly singing and talking about quitting music for decades now, but Vanity—which sees release on Cloud’s Velvet Blue Music label, commemorating 25 years of blue collar dream pop this year—is the work of an engaged lifer, a bright new edition in a catalog that shares disparate territory with The Deftones, The Pernice Brothers, Deerhunter, Sixpence None the Richer, The Smashing Pumpkins, and the assorted groups from the Twin Peaks-venerating micro genre.
Since the early aughts, Marissa Nadler has made a chillingly beautiful kind of music, based on intricate folk-picked guitar and deeply personal. Her latest record The Path of the Clouds is a bit of a departure, coming after Nadler relocated from Boston to Nashville. In our interview, we talked about why these stories appealed to her and how Nadler balanced writing about other people with expressing her own experiences.
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