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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The name Loren Chasse and Glenn Donaldson bestowed on their fledgling CD-R label was intentionally totemic. Jewelled Antler. It sounded like something worshipped, an icon from some long-forgotten religion. The block print logo they emblazoned on their small batch releases all but confirmed it: an illuminated stag horn enshrined upon an altar. It might have been cribbed from ice age wall paintings in the caves of Lascaux. And inside was a music strange and wonderful. Sunkissed jangle-pop and caustic drone, Balkan melodies and lysergic folk songs, deep forest field recordings and lo-fi free improv. It was . . .
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Myriam Gendron has returned with the double album Ma délire - Songs of love, lost & found, an even more ambitious affair than her lauded debut. In a rare email interview, she discussed the record's genesis with Aquarium Drunkard . . .
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Mary Lattimore uses her harp to bend space/time in a rock club, easing into a Highly Rare (terrible pun definitely intended) unedited excerpt of the set that spawned Makaya McCraven’s 2017 record of the same name. Marc Ford leads the Neptune Blues Club through a Neil classic, ripping as only he can and dropping us off at Hamid Drake & Michael Zerang’s annual Winter Solstice celebration . . .
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Produced underneath the guidance of Verve Records founder, Norman Granz, Jammin’ The Blues was released on May 5th, 1944. Granz’s objective was to showcase the top jazz musicians of the day and shed light on the shifting musicality of the genre, which had begun transitioning away from the populous swing arrangements of big bands in favor of smaller groups experimenting with rhythm & blues and free form improvisations . . .
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Fifty years ago, Pastor Thomas Lee Barrett, better known as T.L., went into The Sound Market Studio in Chicago with his Youth For Christ Choir and recorded a testimony of faith. The result: “Like a Ship … (Without a Sail),” Barrett’s signature song, and a gospel album of the same name.
The pastor hasn't spent the past 50 years wandering the wilderness. Barrett continues to record music and minister to his congregation at The Life Center COGIC (Church of . . .
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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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