Aquarium Drunkard

For fans of Elliott Smith, watching Lucky Three feels like visiting with an old friend that you haven’t seen in a while, all the while knowing that they’re going to leave you again, all too soon, and without saying goodbye. True to Jem Cohen’s filmmaking style, Lucky Three is neither a performance film nor a documentary. Its interest is not in narrative nor edit...

The Landfill sonically demonstrates Eric D. Johnson’s strength as a leader and commanding presence, accompanied by a full band for the first time in a few Fruit Bats’ records. In the days following the album's release, during the early days of bringing the songs on the road, AD spoke to Johnson about adopting a share-but-shroud songwriting style as his career continuou...

The brainchild of veteran Scottish musician John Hogarty (The Pastels, Telstar Ponies) from Glasgow's storied guitar-pop underground, outside marks the hybrid archival/modern debut of National Park. Collecting rare previously released singles and new home recordings, Hogart's collective outfit churns out glorious Velvets-inspired guitar dirges, at times in a vein not u...

Julia Holter revisits old ideas and pushes them forward on Materia, opening up and extending them in a liberated direction. The EP captures the sound of a composer still entranced by the sounds she thought she’d finished—refining, reworking and reinterpreting her music in new ways.

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There is something uncanny about late-career Chet Baker. In Europe, the mythology receded, leaving room for something stranger: space, spontaneity, and 48 minutes of suspended time on Daybreak, recorded live at Copenhagen’s Jazzhus Montmartre in 1979.

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