Ty Segall is the selector, sitting in with Justin for the full two hours. Segall’s new lp Harmonizer is out now via Drag City. 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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It’s something about that shriek—the way it piercingly cuts through the otherwise bird-chirping and cawing dewy morning tranquility of what’s on screen. What is on screen is D.A. Pennebaker’s footage of Country Joe & the Fish performing “Section 43” at the 1967 Monterey Pop Festival in California. Although it’s one scene in the larger sequence of a concert film that features monumentally historic performances of Otis Redding, Jimi Hendrix, The Mamas & the Papas, Janis Joplin and so many more—a document that seems to wholly embody the '60s counter-culture—these five-and-a . . .
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Today on Transmissions, two lifers of independent rock, Damon Krukowski and Naomi Yang. Our talk covers the duo’s days in Galaxie 500, Naomi’s interest in boxing, Damon’s ever fascinating and insightful takes on the state of the industry, and their gorgeous new album, A Sky Record . . .
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Transmitting from Topanga Canyon, Nate Mercereau with the vibe control. Over the course of the past year, Mercereau, Carlos Niño and Josh Johnson held a series of outdoor concerts around Southern California, including Ojai, Venice, Malibu and the hills of Topanga where the following video footage was captured. "We simply wanted to make and share music in inspiring and beautiful environments," notes the artist. Goals achieved . . .
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On The Sleepwalker, his debut EP, Noah Deemer’s deconstructionist pop inhabits and distends the conventions and contradictions: the listener is made to be a participant in the awakening, the moment of creation. Filled with riffs, synths, and drums, these Frankenstein-like creations offer dream pop bliss . . .
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Cactus Lee’s Kevin Dehan has been keeping busy. Following the release of four long-players in the span of some eighteen months, his honky-tonk horizons are set next on the live set, Live from Dry Creek Café, in tribute to the band’s beloved Austin haunt. Rowdy, and soaked in pedal steel and Lone Stars, it shines selections from the band’s patented Texas Music in perhaps its purest form yet. We recently caught Dehan for a gorgeous full-band set at the Brooklyn-based jukebox joint Skinny Dennis, and it is with those players—Jon Catfish DeLorme . . .
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Joining us for a wide-ranging interview, Violent Femmes songwriter Gordon Gano discusses the new 30th anniversary edition of Why Do Birds Sing? and the sub rosa influence of Prince and Sun Ra . . .
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Pharaonic Crosstalk, Rhyton’s outstanding new record on Feeding Tube, is an altogether funkier affair. Indeed, Pharaonic is almost a fusion record, redolent as much of Lost Quintet-era Miles and the moody explorations of early Weather Report as the liquid energy of the ‘74 Grateful Dead and the swirling jazz-rock of the Soft Machine . . .
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Smoke Bellow—the Baltimore via Australia trio of Meredith McHugh, Christian J. Best, and Emmanuel Nicolaidis—make their Trouble in Mind debut with Open for Business, a glorious and endlessly rewarding entry into the forever refreshing catalogue of “post-punk . . .
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2X1=4 is Nils Frahm and F.S. Blumm's fourth collaborative album since 2010, and though a record shop could rightly file its contents alongside the late Lee "Scratch" Perry's extensive catalogue, the music's patient scaffolding of dub surrounds a more intrinsic collection of electronic noises . . .
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Lael Neale's Acquainted With Night sounds like an album recorded long ago. An artifact hidden away, waiting to fall on the right ears . . .
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Outré California. 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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Per his new book, Nina Simone's Gum, Warren Ellis reflects “I wanted it to be about the good in people. The light, rather than the darkness, especially after the year we’ve all just had.” And it is.
We recently caught up with Ellis, via Zoom, to discuss the new book and much, much more . . .
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This week on Transmissions: the magnificent Neko Case. She’s recently launched Entering the Lung, a newsletter of nature writing. She joined us this week to discuss the mores of the Victorian age, listening to Jane's Addiction and '80s albums by The Who, and what initially drew her to punk rock . . .
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A mysterious longhaired man in a tattered suit is stumbling his way through a barren and blazing-hot landscape. He’s been shot in the arm. The sun is cooking him alive. In one hand is a gun, in the other is a metal suitcase. Inside the suitcase? A bunch of money and a vinyl record by the cosmic rock trailblazers CAN. This is the opening scene for 1970’s Deadlock, the second feature-length film by the underrated West German auteur Roland Klick, and a movie that not only features a soundtrack by CAN, but also manages to incorporate . . .
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