A pair of collaborations with Bill Nace and Xuan Ye find chik white's jaw harp sounding simultaneously natural and unnatural, alien and intimate, beautiful and sickening in all of its gobbing glory . . .
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Over the course of the past decade, San Francisco's Moon Duo has drifted among the clouds, emitting bursts of spacey shoegaze and mellow psych. The duo’s latest, Stars Are the Light finds them headed toward an icy disco party somewhere further out than previously traveled. Parkas required . . .
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Working in tandem with producer/guitarist Michael Krassner, Pocket Moon features ace contributions from drummer Ryan Jewell, multi-instrumentalist Joshua Hill and guitarist Max Knouse, among others. Together, the ensemble creates an easygoing but rich tapestry, subtly and sensitively boosting the roughhewn melodies and ruminations. The overall result is one 2019’s best LPs – and a career highlight for Joyner . . .
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Boys and girls, All Hallows’ Eve is here, and you’re tuned into the October edition of the Transmissions podcast. The veil is thin and we're back with another round of discussions and digressions. In this episode, Chicago's Whitney discusses Forever Turned Around, the group's sophomore lp. Then, New Age pioneer Don Slepian takes us back to the early '80s. And to close out, a long ramble about Nick Cave and the Bad Seeds' haunted instant classic, Ghosteen . . .
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Broadcasting from the Hollywood Forever Cemetery … The Aquarium Drunkard Show. The Halloween edition, Wednesday night / 7pm California time. SIRIUS/XM ~ Channel 35 . . .
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Well, that was fast. Decade is just about over, and as it draws to a close, its highs look awfully high in the rearview. Presented here, an unranked sprawl of 100 records that stuck with us, managing to break through the noise of an increasingly distracting age, and stick around in our heads . . .
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So we didn’t exactly get Year of the Horse, part II in 2019. But we did get another Neil Young and Crazy Horse album, Colorado, released a little over 50 years after Everybody Knows This Is Nowhere introduced the world to this extraordinary pairing. Amazingly, three out of the four musicians who made that epochal 1969 LP are still onboard – and together they still sound like no one else . . .
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As Dead & Co. fire up the machine for their fall outing, a remarkable stash of the early ‘80s Deadhead zine MIKEL provides a DIY window into what life on Grateful Dead tour was (sur)really like in the early ‘80s, before 1987’s In the Dark blew the band into the top 10 and football stadiums . . .
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If Phil Spector wanted to hit listeners with a wall of sound, studio wizard Curt Boettcher set out to melt their minds with a soaring sonic wall of pure California sunshine . . .
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Wood, texture and light. The Aquarium Drunkard Show on SIRIUS/XM radio ~ Channel 35. Wednesdays / 7pm California time + on-demand.
34.1090° N, 118.2334° W . . .
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Strut Records released a killer compilation last month, Alefa Madagascar: Salegy, Soukous & Soul from the Red Island 1974-1984, documenting the synth dance boogies and call-and-response folk rhythms that grew out of the island’s cross-pollination of cultures. One particular cut has been on steady repeat as of late: "Izahay Mpamita” by Mahaleo . . .
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On the heels of the excellent Fountain Fire, Bill MacKay returns with his second LP of 2019, this time alongside “Chicago’s first lady of the cello,” Katinka Kleijn . . .
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The mythic Damo Suzuki is out on the road, traveling the highways of the United States, to team with up with "sound carriers," local musicians assembled from each town he visits. Freelance scribe and One Eleven Heavy bassist Daniel A. Brown—known for his work with Royal Trux, ‘68 Comeback, the Screws, and South Filthy—recently caught up with Suzuki via Skype to discuss his artistic approach and history . . .
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Brace for hyperbole: "The story I'm about to tell you is one of the most extraordinary tales of our time..." So begins our narrator, and with the hum of a modulating synth, we are off. Released forty years ago this fall, the BBC's The New Sound Of Music aimed at documenting the history of recorded sound. Beginning with the advent of the mechanical barrel organ, its 48 minutes run-time not only connects emerging technologies with music, but their influence on its makers . . .
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Fade Out The World. No purple language, here -- just the clean dirty. Béret is nom de tune of artist Ian Kurtis Crist, who punches out minimalist post-punk via his Seattle home. With Jim Carroll vox clipped and at the fore, an anxious underpainting of atmosphere rides just below the surface, aching for release . . .
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