Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard every Wednesday at 7pm PST with encore broadcasts on-demand via the SIRIUS/XM app.
Music from Julien Gasc, Goldmund, Atlas Sound, Chris Cohen, Cleaners From Venus and more . . .
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Like Joan Didion's writing about Los Angeles, or Flannery O'Connor's examinations of the American South, Pedro the Lion's "Phoenix" is as much about an inner place as it is about a location on the map . . .
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In the four years since her last record, Sharon Van Etten has been busy. In that time she's gone back to school, scored a film, and become a mother. It's that last element that seems to hang over much of her excellent new album, Remind Me Tomorrow. Produced by John Congleton, it's solid leap forward for an artist who has made substantive changes with every album she's released. Aquarium Drunkard caught up with Van Etten, via phone from her home in Brooklyn, to discuss her new record, the paranoia of parenthood, the connective power of shared . . .
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Captured while on tour mid-summer in Europe, we find a nascent, if not potent, form of the group — one both informed by and contributing to the conversation of post-punk. Touring in support of their recently released Seventeen Seconds lp, this was the Cure in transition, having recently augmented its core with the addition of Simon Gallup (bass) and Matthieu Hartley (synths). Whereas the group’s sound, and presentation, would soon morph and evolve, this VHS rip finds them perfectly suspended in Dutch time . . .
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Gunn’s first Lagniappe session found him taking on the melancholic art-pop of the Smiths. For his second, he decamped to Gold Diggers recording studio in East Hollywood to record a cover of his frequent collaborator Michael Chapman’s “Among the Trees” (Gunn produced Chapman’s forthcoming True North) and the Misfit’s “Astro Zombies,” which swaps out the B-movie punk fury of the original for bleak folk . . .
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Harlem always felt less like “garage rock” and more like a yard sale: strewn out in the driveway, “as is” stickers, handwritten signs down the street announcing “yard sale, this Saturday” still up the following Friday. There was a devil-may-care-but-I-do mentality to their songs, and a fuzzed sound with raised-voice vocals that belied the underlying catchiness that emanated out of each track. But the (relatively) meteoric rise of the band - accolades and a contract with Matador Records - was either too much or not quite right, and they went silent after 2010’s
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This month sees the release of William Tyler’s next full-length, Goes West – his first recorded output in two years. To commemorate the event, we’re sitting down with Tyler on January 29th at Gold Diggers in east Hollywood for TALK SHOW, followed by a performance . . .
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The story of Kudzu Wish is the kind of great indie-rock tale that, in a movie, would have ended with some great, mammoth success. Instead, it's something much sweeter, much more moving, and now, 14 years later, getting its bittersweet coda. The band's final recording sessions from 2005 are being released by Ernest Jennings Records, their long time label, and will be playing a one-off reunion show in their hometown of Greensboro, North Carolina on March 22nd.
The band (guitarists Devender Sellars and Eric Mann, bassist Tim LaFollette, drummer Geordie Woods and singer, Adam Thorn) were . . .
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Fred and Toody Cole are predominantly cited for their contributions to the DIY aesthetic—and for good reason, considering how they were basically pressing records themselves in the woods outside Portland for many years—but there’s another aspect to their career that warrants celebration: the fact that they didn’t break through until middle age. Fred had just turned forty, and Toody was squarely staring at it, when the first Dead Moon record, In the Graveyard, was released in 1988—and even then, it wasn’t like . . .
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Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard every Wednesday at 7pm PST with encore broadcasts on-demand via the SIRIUS/XM app.
This week: Vintage psychedelic music spanning the continent of Africa, new ambient textures via Germany, some ECM favorites and more . . .
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A closer look at one of our favorite titles from last year, Gloria Barnes’ Uptown is a super rare gem of killer 70s funk and soul. As the original pressing goes for over 3k on Discogs, it was mighty gracious of Ohio’s Colemine Records to dig this one out of obscurity (but hurry up, they’ve only got 5 copies left). Barnes hailed from Harlem, and for this record – her only known recorded document – she's backed . . .
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Last year, stalwart label Tompkins Square quietly released Harmony Rockets' Lachesis/Clotho/Atropos, a collaborative album featuring a stunning constellation of players: Jonathan Donahue, Grasshopper, and Jesse Chandler of Mercury Rev, avant-folk guitarist Peter Walker, Steve Shelley of Sonic Youth, Wilco's become a member or log in.
Influences: Headhunters-era Herbie Hancock, George Duke, esoteric European prog -- all with an assist from elements of modern electronic music. Written, arranged, recorded and produced with as much analog gear as possible, this is LA's Joy Guerrilla, and the instrumental album, Skyline, is their debut.
Comprised of Magda Daniec and Adam Grab, the pair recorded Skyline straight to tape in their Jefferson Park neighborhood apartment. In addition to the impact of the aforementioned grip of influences, Daniec and Grab told us they find . . .
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German ambient artist Christian Grothe (who works under the pseudonym, Kryshe) is set to release his next lp, Hauch, at the end of the month via Serein records.
A whitecap of nocturnal atmosphere, the album's title track unfolds reflexively. Minimal music, the composition is spatially lit by Grothe's restrained trumpet and instinctual homespun production. Far from scattershot, recorded straight to analog tape, the digitally manipulated fragments possess an aural, naturalistic, warmth.
In Kryshe's case, the inevitable Budd/Eno comparisons are . . .
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Lloyd Miller, a complicated man with a fascinating range of musical vocabulary, was known amongst his peers in the ethno-musicologist world as something of a mad genius, having immersed himself in dozens of languages and hundreds of instruments, receiving a doctorate with a concentration in Persian music.
A little under a decade ago, London’s Jazzman Records compiled an exquisite anthology of Miller’s various groups and recordings. Detailing in gorgeous composition, the set exhibits the musician's enchantment with the music and . . .
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