In R.E.M.’s earliest days, it fell to Mitch Easter to harness the raw power and jangly energy of the Athens, Georgia quartet. He joins us today to discuss his history working with the band . . .
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Ahead of Twin Plagues, Wednesday bury southern country under distortion. ""One More Last One" adheres to classic dream pop trappings, but there's a Southern gothic bent to this cryptic tale of survival from behind a wall of fuzz . . .
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Like Jareth in the Labyrinth, Bowie was a fantasy figure in the maze of pop culture. Otherworldly sonically and aesthetically, he always seemed to be a few steps ahead of the cultural zeitgeist that he governed over . . .
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Not every record needs a reissue. This one did. Released earlier this year via the UK based Matsuli Music, Harari proves a cornerstone in the South African group's evolution from Soweto soul (as The Beaters) to the charged afro-rock and funk (as Harari) that would come to define their legacy . . .
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Liam Kazar’s introductory single arrived in Spring 2020 via the ear worm, “Shoes Too Tight." It's taken over a year, but Kazar finally has a proper lp, giving us the occasion to opine on this artist in full. A rollicking but smart affair, Due North creates its own cool, justifiably confident no matter the subject or style . . .
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Dyke and the Blazers defined "funk" in the desert, evidenced by two recent collections, Down on Funky Broadway: Phoenix 1966-1967 and I Got a Message: Hollywood (1968–1970). While "Funky Broadway," "We Got More Soul," and "Let a Woman Be a Woman, Let a Man Be a Man" are the best known cuts, of particular shambolic charm is "Uhh," a relentless grinder propelled by drummer Rodney Brown . . .
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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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VAR! is the sophomore album from Pony Hunt—the musical project of New Orleans-based artist Jessie Antonick. Named after the discovery of a Cepheid Variable by astronomer Edwin Hubble, ultimately leading him to the realization of the Andromeda galaxy as well as a greater understanding of the vastness of our universe, the album correspondingly feels like some kind of pulsating star, its brightness shining in unpredictable ways . . .
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A sprawling talk with record maker John Leckie. As a tape operator at Abbey Road, he oversaw the All Things Must Pass and Plastic Ono Band sessions and rolled tape on Pink Floyd, Syd Barrett, Kevin Ayers, Fela Kuti, and more. Soon he began producing records, and he's gone on to work with Radiohead on The Bends, plus Dr. John, Spiritualized, My Morning Jacket, and many more. He joins host Jason Woodbury this week on Transmissions to discuss his extensive history and much more . . .
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Fresh off the release of The Feeling of Love, Tokyo-based songwriter Shintaro Sakamoto joins us to discuss steel guitar, the influence of Allen Ginsberg, favorite record stores, and New York City music . . .
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Pachyman, the one-man dub reggae project of Pachy Garcia, is not to be slept on. Born in San Juan, PR, and now residing in Los Angeles, Garcia's latest long-player is laced with the good shit. At a dozen tracks, it's a roots ride of originals, all with knowing nods to the genre's greatest innovators.
For this installment of the lagniappe sessions, we asked Garcia to riff on the inimitable Greensleeves label . . .
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Following the release of his covers-heavy self-titled album, Bengali musician Ananda Shankar retreated from the spotlight for five years before dropping its follow up: Ananda Shankar And His Music. Released in 1975, eradicating any preconceived genre expectations, the record immediately lays its cards on the table via side one/track one, “Streets of Calcutta . . .
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Ras Michael and the Sons of Negus’ Love Thy Neighbour is perhaps the last great masterwork produced by Lee ‘Scratch’ Perry within the hallowed walls of his Black Ark studio. It is a testament to the uncompromising spiritual clarity of Ras Michael’s Nyabinghi mysticism, and to the dubwise delirium of the Upsetter’s sonic palette . . .
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Songwriters Renée Reed and Kate Teague join us today for a one-on-one conversation from the wilds of Louisiana. On her self-titled album, Lafayette-based Reed explores lovely and spooky corners, singing in English and French of shadows and ghosts. Over in New Orleans, Teague crafts open-hearted songs, her voice hovering over thoughtful arrangements of synths and guitars. For this special installment of In Conversation, they discuss their situations in the American South, the influence of their parents, and the joys of home recording . . .
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For their debut Lagniappe Session, the Chicago band emits several shades of their distinct musical palette, including the wayward, burnt-out sardonicism of Warren Zevon, the AM country sheen of Female Species, the mysterious pastoralism of early 70s Dylan, and the imbibed care-free state of mind we call Jimmy Buffett . . .
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