Ahead of the release of The Dharma Wheel, Ethan Miller of Howlin Rain discusses the dark comedy of Ottessa Moshfegh, adventurous music by King Crimson and Stevie Wonder, Thomas Pynchon's V, Capote, and the genre unto itself filmography of Almodovar . . .
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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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A sit down with bassist and composer Melvin Gibbs. Emerging from the fertile New York scene of the early '80s, he's worked with a wide ranging roster of artists. He joins us for a talk about rock music, jazz, the George Floyd protests, playing with Sonny Sharrock, and more . . .
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Weird times, strange signals. Reverberating from the hills of Glassell Park, CA, another half-hour canyon of sight and sound featuring the sonic vibrations of Jack Name, Orions Belte, Stereolab, L’Eclair, Galaxie 500, Babe Rainbow, Spencer Cullum and beyond . . .
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1975’s Hells Angels was the terminal statement. Where the earlier records show ample consideration to the UK’s underground rock scene – Deep Down Heavy and Electric City play like adventurous jazz prog, thrown out of Canterbury for refusing to partake in wry English-isms – Hells Angels trades familiarity for unabashed cosmic impulse . . .
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You’ve heard Karen Black sing in Five Easy Pieces and Nashville. Now, her real life songs are revealed via the Cass McCombs-assisted Dreaming of You (1971-1976), featuring select studio and demo recording from the late actor, restored from their original tapes . . .
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Videodrome. A recurring column plumbing the depths of vintage and contemporary cinema – from cult, exploitation, trash and grindhouse to sci-fi, horror, noir, documentary and beyond.
Now showing: Terry Gilliam’s 1981 fantasy-adventure Time Bandits -- the first installment in his “Trilogy Of Imagination” series . . .
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Welcome back to the stacks. It’s Aquarium Drunkard’s Book Club, our recurring column of recent (or not so recent) recommended reading, featuring Matthew Specktor on Los Angeles, Alan Licht's sprawling interviews, Rosemary Leary, Jeanne Thornton, and more . . .
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Taking both inspiration and their name from a tune culled from Ian Matthews 1970 lp, Later That Same Year, Sylvie is comprised of Los Angeles friends and musicians Ben Schwab, Sam Burton, and Marina Allen . . .
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Sketch for summer.. 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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Few albums have captured the bleak, messy boredom of the pandemic better than the Sleaford Mods’ 'Spare Ribs', a collection of jaundiced rants about days at home, politically-motivated ignorance and, as usual, the posing incompetence of Jason Williamson’s musical peers.
We caught up with Willimanson at home to discuss the new record and more . . .
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This week on Transmissions: Anika. Best known for her work with Geoff Barrow and Mexico City's Exploded View, she returns with Change, an album of subtle electronic pop, driving bass lines, and lyrics that veer from quixotic to inspiring. Anika joined us for a discussion about her time as a journalist, the shifting state of reality, and crafting an album amidst a global pandemic . . .
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Though only ever released in Japan and in sore need of reissue (affordability not being among the virtues of an original copy), Green Line sits easily alongside the most progressive jazz albums of the early 70s, many of which featured the work of the quartet’s alumni—namely Sharrock’s uncredited appearance on ‘Yesternow’ for Miles Davis’ A Tribute to Jack Johnson, Vitous’ early fusion-defining tenure with Weather Report, and Marcus’ collaboration with Japanese jazz-rock outfit Jiro Inagaki and Soul Media . . .
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On “Sanctuary,” the closing song on Hiss Golden Messenger’s ninth album, Quietly Blowing It, Mike Taylor sings: “Feeling bad, feeling blue, can’t get out of my own mind, but I know how to sing about it.” And thankfully, he does. For over a decade now, Hiss Golden Messenger has provided us with music that heals. Taylor's songs stress the importance of growth, empathy, and grace, and acknowledge the formative inevitably of pain, weakness, and loss. And despite the self-effacing title and a past eighteen months plus of potent darkness, this new work only strengthens Taylor’s . . .
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Here's our own reimagining of The Velvet Underground & Nico, featuring obscure takes on the VU, spanning from the 1960s to the 1990s. Some of these renditions are fairly faithful to the source, while others are decidedly irreverent, finding some truly weirdo approaches to these very sturdy songs. Synth-pop, goth, glam, industrial, grunge, garage ... it's all here, and more . . .
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