Neil Young: Songwriting & Old Men (Live & At Home, 1971)

Absolute homegrown ephemera gold courtesy of a 1972 Germany documentary which finds Neil Young in a honey slide haze on his fabled Broken Arrow Ranch, work-shopping  “Out on the Weekend” (endearingly amused by his own lyrics), and hanging with Elliot Roberts, the fellas, the dogs, and the cows. The clip also finds Young musing on the imagery of his songwriting, before gorgeously blending a live performance of “Old Man” from only a few weeks prior with footage of the titular muse and Young sharing a smile. More barn, indeed. words /become a member or log in.

Kelly Lee Owens :: The Aquarium Drunkard Interview

On her self-titled debut, English electronic producer Kelly Lee Owens carefully weaves lyrical threads through her avant-pop club songs. Owens came from an indie rock background, but years working in record stores opened her up to the sounds of drum and bass, Krautrock, minimalism, and dream pop, all of which factor into the palette of her enveloping new album. On the record, Owens' vocals hover over shuffling beats and spacey washes of synth, alternately sounding rapturous and spooky. Her rhythms are insistent, often blooming into hard grooves, and while the songs cross-skip across genre, they're held together by Owens' songwriter instincts and an abiding electronic warmth.

“I kind of gravitate to bass quite a lot, this underwater, immersive kind of hug that it gives you,” Owens says from her management's offices in Camden.

If her time working in record shops informed her musical ideology, it was her time working as an auxiliary nurse in a cancer treatment hospital that suggested a holistic aim for her songs. With her recordings, Owens hopes to offer "immersive, sound healing," the kind of music that serves the needs of the contemplative as well as those looking to escape on the dance floor.

Aquarium Drunkard spoke with Owens about building her sound from the ground up, matters of femininity and masculinity, and, with the help of a psychic, we explored the role musical innovator Arthur Russell has played in her career. This interview has been edited and condensed.

Aquarium Drunkard: You worked in a hospital specializing in cancer treatment. Did the notion of creating music with therapeutic properties kind of take root there?

Kelly Lee Owens: It’s funny, I thought my work as a nurse was a completely separate thing from my music, but it isn’t and realizing that while discussing the album has been nice. Working in the hospital, it was all drug-based therapies, which are necessary for the most part. But I really felt like something was missing. There wasn’t a focus on the whole spectrum of well-being. I feel like creativity and music is so healing, it’s part of that, and I wondered how I could bring those two worlds together. I didn’t think it was possible, but the more I’ve looked into the science of sound, the more I realized they’re shattering cancer cells with resonant frequencies. At that time, I was going to a lot of gong sound baths. It was an experience of letting the music wash over you. You let go, ultimately, of control. I’m used to controlling sounds in a certain way. It was a new experience for me to just kind of let it be. It was quite a profound thing. I think [album closer] “8” brought that out in my own music, just letting something be and expand. It's all connecting slowly, I think.

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Vic Chesnutt :: What Doesn’t Kill Me (A Documentary)

As we mentioned last month, New West Records is in the midst of a massive reissue campaign of the late Vic Chesnutt's discography, beginning with his 1990 debut (the Michael Stipe produced Little), on through 2005's Ghetto Bells -- his final LP for the label prior to moving to Constellation Records in 2007.

Which brings us to What Doesn't Kill Me

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard twice, every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 477:  JJean Michel Bernard — Générique Stephane ++ Kevin Morby — Wild Side (Oh The Places You’ll Go) ++ B.F. Trike — Be Free ++ Dinosaurs — Sinister Purpose ++ Flaming Groovies — Golden Clouds ++ The Ramones — Oh Oh I Love Her So ++ The Nerves — Stand Back And Take A Good Look (Demo . . .

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Kikagaku Moyo :: The Aquarium Drunkard Interview

Over the past three and a half years, the young, hairy Japanese psychedelic outfit Kikagaku Moyo has quietly amassed a devout cult following via legendary performances across the United States, UK, Europe, and Australia. Not to mention a steady drip of outstanding and brain-bending releases, including Kikagaku Moyo, Mammatus Clouds, and Forest of Lost Children. The first few came on Greek, British and American labels, and since on the band’s own imprint, Guruguru Brain, supported by a legion of “old psych head” fans in faraway places like Serbia and Israel that regularly buy out the label’s vinyl pressings within weeks. Kikagaku Moyo’s self-released 2016 LP, House in the Tall Grass, was one of the most lucid highlights of last year, even if it was more or less unsung. This publication did call it a “flawless and captivating record.” That is not at all an overstatement.

The group now has an excellent new EP, Stone Garden, out tomorrow. It was recorded over two days last year in Prague. The sessions were cut up and spliced together to make five tracks, which proceed from beginning to end with an undulating sense of urgency. “Backlash” and “Trilobites” make frenetic, experimental movements, while “Nobakitani” refines the sprawling meditations of Mammatus Clouds into an elegant and leisurely 8-minute daydream. Both “In A Coil” and “Floating Leaf” harness a murky, propulsive groove, as if “Green Sugar” from House in A Tall Grass was poured into a flooded creek bed atop Mt. Fuji and left to run down the mountain. During our recent conversation at Chatei Hatou in Shibuya, drummer Go Kurosawa mentioned that he wanted to draw on the band’s earliest experiences, when they “only had energy.” Stone Garden is certainly energetic. It’s also invigorating; a descriptor that you look for in psychedelic music. Especially when you need a bite of something to keep the trip flowing in the right direction.

Stream Stone Garden below and read on to learn more about the genesis of Kikagaku Moyo, their struggles developing as an up-and-coming live act in Japan, and the other bands on their label, Guruguru Brain, that are poised for a similar breakout. words / j steele

Aquarium Drunkard: How did y’all start?

Kikagaku Moyo: I met Tomo, the guitarist. He was living in the US studying film. He got back and we met up and said, “Ok. Let’s [start a] band.” Two people. I wanted to play drums, but I had never played before. Tomo played guitar, he said. But he couldn’t really play. [Laughs] So we used an old studio almost every night, from midnight until the morning. Our friend was working there, so we could use it for free. We would play a loop and try to jam. And soon after we saw, “Oh, we cannot do anything.” We were only a two piece so what could we do? Either garage, like garage rock, or psychedelic, which can be kind of stupid.

And then we tried to find people. But we wanted to find people who didn't have experience. And like, don’t know how to play, but just want to play music together. We put many signs everywhere and went to college and made a psychedelic poster and gave it to people. Tomo actually got in trouble at college because he put it everywhere. “You cannot do that. What’s this psychedelic poster everywhere?!” [Laughs] And then we found our bassist one day. He was recording vending machine sounds with a recorder for his drone project. We talked to him, “What are you doing? Let’s play music.” “Oh, okay.” The other guitarist. He was working in the same college that Tomo went to. He looked really weird. Huge beard. Long hair. Rolling cigarette…”Do you play?” “Yeah, yea, yeah.” “Do you want to play in a band?” “Yeah, okay.” We didn’t know anything. Then my brother plays sitar. He was in India and came back. So all of us played music and that’s how we started.

Gig wise it’s difficult because we have totally different system. We have to pay to play. Usually $300 for a 30-35 minute set. We did that a few times. “This is not going anywhere.” So we decided to go abroad. We did an Australian tour for two weeks and then it started happening. We got offers from a label and we played Austin Psych Fest / Levitation in 2014.

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Abstract Truths: An Evolving Jazz Compendium — Volume Three

Volume three of Abstract Truths. If unfamiliar with the series, please first read here about the its genesis and intention. For this installment our friend, record collector and audio archeologist Eothen Alapatt, of Now Again Records, is behind the boards. Below, Alapatt shares some insight behind his 26 selects and beyond . . .

These are songs that I listen to and think of . . .

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Dave Davies :: The Aquarium Drunkard Interview

For Kinks guitarist Dave Davies, music isn't an intellectual pursuit. In Davies' mind, creation is a purely instinctual action, not a result of the brain so much as the gut.

"When you first start to get into music, you write something and if it feels good, maybe it is good," Davies says over the phone, reflecting back on the early days of the Kinks, the legendary rock & roll band he formed with his brother Ray in 1964. In the years since those nascent days in Muswell Hill, the Davies brothers have feuded off and on, but Dave's reputation as a hard rock and punk pioneer has only solidified. His raw guitar sound has inspired countless followers, including Ty Segall and Chris Spedding, who both appeared on his 2013 solo album I Will Be Me.

But Davies' latest is a more personal, stripped-down affair. Called Open Road, it was recorded with Dave's son Russ. Though the two have collaborated together for years now, the record marks a shift from electronic experimentation to more traditional singer/songwriter format. AD spoke with Davies about the record, some recent Kinks demos, his attraction to metaphysics, and abiding love of science fiction. Our conversation has been condensed and edited.

Aquarium Drunkard: You’ve collaborated with your son Russ for quite a while now. But Open Road is different than your previous collaborations. How did it work, melding your sensibilities as a songwriter to Russ’ more electronically-focused angle?

Dave Davies: We’ve wanted to do something more in the vein of a rock album...[Russ] was really keen on getting into this new area.

AD: What’s it like writing with your son? As a songwriter, part of your job is to get somewhere very vulnerable and open. Is getting to that space  with your son interesting?

Dave Davies: Russ is a very confessional, very sensitive musician, so it was comforting to work within that trust. The two of us working together helped emotionally; I wasn’t so worried about opening up to him, he knows me pretty well. I could trust him with my thoughts and feelings and likewise. There’s a line on “The Path Is Long” that goes, “You and I/We need to trust.” I really hooked into that. Trust is important when you’re working so closely on a project like this, or any creative project. That trust element totally freed us both up to try things out.

AD: There seems to be a theme of “family” running through your work. You founded the Kinks with your brother Ray. And while it’s difficult to pick a favorite Kinks record, most days Muswell Hillbillies is my favorite. On that record you were drawing from the people around you and to some degree, your own family history.

Dave Davies: Ray and I were obviously very influenced by country music, especially in the early days, with Hank Williams, Earl Scruggs, Lester Flatt. But the heart of the album, the theme really, is about a family having to move to another part of the city, focusing on tales about different characters in the family and what they did. It’s one of my favorites too, along with  Arthur. I like them all for different reasons, they’re very different from each other. That’s been the joy of being in a band like the Kinks. There’s a wealth of ideas me and Ray can draw from, including our childhood, our family.

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Megan Sue Hicks :: Hey, Can You Come Out and Play

Anthology Recordings is gearing up to shine an in-depth light on a collection of rare psych, rock, and folk nuggets sourced from 70’s Australia. Compiled by countryman Mikey Young (Total Control, Eddy Current Suppression Ring) and Anthology’s own Keith Abrahamsson, Follow The Sun drops May 5th and is sure to soundtrack a score of fazed-out summers. Following the premiere of Mata Hari’s blissed garage cut “Easy” comes Megan Sue Hicks’ "Hey, Can You Come Out and Play, " a slice of loner . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 476: Jean Michel Bernard — Générique Stephane ++ Trailer Trash Tracys — Candy Girl (demo version) ++ Omni — Wire ++ The Vaselines — Son of A Gun ++ Ty Segall — Caesar ++ Indian Wars — If You Want Me ++ Parquet Courts — Paraphrased ++ Les Olivensteins — Fier De Ne Rien Faire ++ The Bellys — Chow Chow ++ Zig Zags — Wastin’ My Time ++ Wire . . .

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Dead Notes :: The Zine, Issue #2

How many Deadheads does it take to screw in a light bulb? 1000. One to do it and 999 to tape it.

There was a time when yellow envelopes stuffed to the gills with Maxell XL2s and patchouli-soaked trading lists were the norm. Maybe those packages would lead to being invited to a fellow head’s apartment or dorm room for all-night dub sessions or back room trades at your local head shop. With those tapes came new friendships, show and band recommendations, and stories. Those stories came in both the handed down . . .

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Transmissions Podcast :: Allah-Las

Welcome to Aquarium Drunkard's recurring Transmissions podcast. Today, we're launching a new mini-series in collaboration with the folks at Mexican Summer. Last month, we sent AD's Jason P. Woodbury to Marfa Texas to attend Mexican Summer's Marfa Myths Festival, a four-day, multi-disciplinary celebration of art in music in West Texas, which resulted in his essay, "There's No Such Thing As Nowhere."

While out there, Woodbury hooked up with a number of Myths performers to record interviews. For this episode, he sat down with the Los Angeles-based four-piece the Allah-Las, to discuss the group's record store roots, sound, and Reverberation Radio, their long-running online radio series.

Transmissions Podcast :: Allah-Las

Subscribe to the Aquarium Drunkard podcast on  iTunes  or via  RSS feed.

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Aquarium Drunkard Presents: Kamasi Washington / New Orleans May 4th, 5th and 6th

New Orleans. Aquarium Drunkard presents Kamasi Washington at One Eyed Jacks / May 4th, 5th and 6th. We have a few pairs of tickets to give away to AD readers. Into it? Leave a comment with your favorite jazz lp from 1968. Tickets available, here

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Ciao! Manhattan :: Original Motion Picture Soundtrack

Edie Sedgwick famously said she wanted "to turn the world on just for a moment." Ciao! Manhattan, the 1973 film written and directed by Warhol Factory associates John Palmer and David Weisman, might be the closest she ever came to that ambition.

It's a complicated film, a semi-fictionalized account of Edie as Susan Superstar, who travels from the Warhol's New York to a drained swimming pool in Santa Barbara. In some ways, it serves as an elegy for the Sixties itself, and more literally so for Edie, who passed away from an overdose in 1971, just after the film was finished.

On Record Store Day, April 22, Light in the Attic Records/Cinewax will release the film's soundtrack for the first time. Featuring counter culture stars like Richie Havens, John Phillips, and Skip Battin (Flying Burrito Brothers/The Byrds), the soundtrack also features rare recordings  by Kim Milford, whose song "Justice" is a highlight, the synthesizer soundscapes of Factory "star" and model Gino Piserchio, and dialogue from the film. The LP is limited to 2,000 copies on "Angel Shock" color vinyl, features audio and film clips remastered from the original transfers, and includes a 20-page book with archival photos and an interview with writer/director David Weisman by Aquarium Drunkard writer Jason P. Woodbury.

Presented here, an excerpt from those notes, an attempt to capture both the psychedelic spirit of the era and also the sadness and tragedy that defined Sedgwick's life.

Ciao! Manhattan is, first and foremost, about Edie.

Edie Sedgwick, socialite and heiress, the most dazzling of Andy Warhol’s Superstars. The true “It Girl” of the Pop Art age. Warhol projected his showbiz dreams on Edie. It’s speculated that Bob Dylan wrote “Just Like a Woman” and “Leopard-Skin Pill-Box Hat” with her in mind; it’s certain Lou Reed wrote The Velvet Underground’s “Femme Fatale” about her. Edie inspired a particular kind of devotion.

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Coco Hames :: The Aquarium Drunkard Interview

Coco Hames likes to crack wise about "getting away with it" -- as if her career as a musician and record store  is some trick she's pulling off. But the singer/songwriter's newly released self-titled solo debut is no fluke or chance occurrence. Though it's  her first for Merge Records and first released under her own name, it's a work of undeniable craftsmanship, honed over years. The LP finds Hames  expanding on the garage rock of her band The Ettes, maintaining that group's direct punchiness, but adding sun-dappled country soul, R&B,  jangle rock, and classic Spector Wall of Sound pop to the mix. Twangy and sly, the album reflects Hames'  roots in the South. It's easy to hear  noted inspirations   Patsy Cline and Bobbie Gentry in songs like "I Do Love You" and "You're Calling Me," but Hames still rocks  too, particularly on the charging "I Don't Wanna Go." Though it's not easy to categorize -- pitched somewhere between a power pop record and a traditional singer/songwriter outing -- it feels whole and natural within Hames' discography. The same spirit she caught on tape with The Ettes is here, only matured and refined.

Coco Hames :: You're Calling Me

AD caught up with Hames over the phone from her place in Memphis. The conversation was freewheeling, with Hames bouncing from Simpsons  and  Broad City  references to discussing writing songs for Tom Scharpling's  long-running comedy/music program The Best Show, covering Tommy Stinson, and coming into her own as a solo artist.  This conversation had been condensed and edited for clarity. Coco Hames is available now via Merge Records.  

Aquarium Drunkard:  You've been writing songs for a long time. Have these  songs been kicking around in your head for some time now?

Coco Hames: I would say maybe half of them. Some of them were maybe gonna be on the next Parting Gifts record; one of them is fifteen years old. Straight up I wrote it when I was...oh, yeah twenty. I was kind of like, it was time, you know? I was just ready to make a record. The Ettes sort of petered out -- I guess we broke up -- but  Poni [Silver] and I are still really good friends. I remember, talking with [Reigning Sound and Parting Gifts songwriter] Greg Cartwright, and he told me, "You get tunnel vision when you're in a project like that." As individuals we're human beings and we all have stuff that we want to do that doesn't just exist in this vacuum of the band and that's okay.

After the band ended, there were like two years where I wasn't really writing songs for myself. I wrote songs for Gary the Squirrel on The Best Show. That was fun, but I didn't feel like I needed to do anything else. But eventually I was like, "Yeah, I'm a songwriter, this is what I do, and I love it. I think maybe I should put some songs out."

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The Monkees :: Head / Alternate Version

While it’s a very short album, The Monkees' Head arguably features their strongest overall collection of songs (with Headquarters a close second). There isn’t a bad song on the record, and it’s interspersed with trippy dialogue edited in Burroughs-esque cut-up fashion from the 1968 film of the same name, all adding as the Monkees' most psychedelic work. Recently, the folks at become a member or log in.