Our regular music critic Drew Tewksbury reviews three new albums. He takes a listen to the latest from the Mexico City performer known as Adanowsky. He also talks about music from the legendary German band Can and the first album by director David Lynch.
Adanowsky is the project of Mexico City singer songwriter Adan Jodorowsky. His intimate album, "Amador" explores love ballads from around the world. There's creaky saloon pianos, gentle strums, and Adan's Serge Gainsbourg-style croons. The album is music for rainy mornings with a French press brewing in the kitchen. It's melancholy music for the last couple on the floor, slow-dancing after the bar has cleared and the chairs are stacked.
If the name Jodorowsky sounds familiar, that's because Adan is the son of Chilean cult film director, Alejandro Jodorowsky. His father's films "El Topo," "Santa Sangre" and "The Holy Mountain" are mainstays of film schools and midnight cinemas across the world.
Adan grew up in a avant-garde household in Paris, where George Harrison taught him his first guitar chords, and James Brown showed him how to dance. As a boy, Adan starred in his father's grotesque horror film, "Santa Sangre." His music, however, is all about beauty and love.
Can's Tago Mago
Can is the kind of band that can only happen once. With their minimalist rock beats and far out sonic textures they laid down the foundation for future bands like Kraftwerk, Sonic Youth, Radiohead, and even Kanye West. To celebrate the 40th anniversary of their landmark album "Tago Mago," the band has reissued the record, with expanded live sessions. The reissue reveals Can's visionary sound that came straight from Germany, before punk and funk.
Everything about Can sounds so modern, that it's hard to believe that they were playing in the same time as Led Zeppelin and Captain & Tenille. Later, the band devolved into making theme songs for game shows and eventually split up. But Tago Mago remains one of their greatest experiments.
David Lynch's Crazy Clown Time
David Lynch is known for making creepy and captivating films like "Blue Velvet," "Mullholland Drive" and "Eraserhead." Now, at 65, Lynch gives us his musical debut, "Crazy Clown Time." Like you could expect, the album is evocative and otherworldy, it's moody, and sometimes creepy. Lynch has created a pretty good collection of outer space blues and electropop.
Lynch sings and plays bluesy guitar, while his producer Dean Hurley provides the lurching drumbeats. When his vocals aren’t processed to sound like a robot, Lynch's untrained voice strains for notes, and crawls along as he tells twisted stories. Like Lynch's movies, not every part of this album works. Often his experiments are too esoteric. But overall, David Lynch's debut album is fascinating piece of outsider art from one of world's greatest innovators.