Posts

Totem Pocket :: Chump

Totem PocketPosted on

The latest offering from Denver’s Totem Pocket begins with its wooziest, weirdest song, a bad trip translated into thick, sludgy sound. Stick with it though! You’ll be rewarded with a truly awesome slab of fuzzy and fierce dream pop. One crucial ingredient in the band’s very tasty recipe is pure volume — an element that many worshipers at the altar of shoegaze somehow forget about . . .

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Bandcamping :: Winter 2025

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Hark, the snow is falling! At least in some places of the world it is. As winter descends, we’ve got some recent/recommended records to soundtrack the chillier months. Fill up your cart for the latest Bandcamp Friday on Dec. 5 . . .

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Videodrome :: Goodbye, Dragon Inn (2003)

VideodromePosted on

Goodbye, Dragon Inn (2003) is an affecting meditation on the theatrical experience, exploring the nuances of film exhibition and the paradoxical loneliness of experiencing cinema in a darkened room amongst strangers — all together, yet still alone. It's a bittersweet love letter to the vagabond souls who seek solace in theaters, who relish in the ceremonial comforts of getting popcorn, settling into their seats, and waiting for the house lights to dim. This is a movie that not only loves movies, but also postulates that such love comes from going to see a movie in a theater, the experiential factor . . .

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Posted on Videodrome

The Quiet Revolution: Talk Talk’s Spirit of Eden and Laughing Stock

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Some records feel impossible to write about. Not because they lack substance, but because they possess too much of it: too much quiet, too much space, too much mystery. They resist language the way water resists a net. Talk Talk’s Spirit of Eden (1988) and Laughing Stock (1991) feel like works designed to escape description altogether. And perhaps the paradox is this: the quieter the music becomes, the more words people spend trying to grasp it. Silence invites interpretation; these albums invite entire libraries. Approaching them feels like stepping barefoot into a dark, vast hall – your perception sharpened, your . . .

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Posted on Talk Talk

The Aquarium Drunkard Show: SIRIUS/XMU (7pm PST, Channel 35)

SIRIUSPosted on

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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Zachary Cale :: Love’s Work

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A year ago, Brooklyn songwriter Zachary Cale took a break from routine and made an album entirely on piano. Now Cale is back to his primary instrument, the guitar, in a new collection of songs that bridge the difference between Glenn Jones-style finger-picking and expansive, nearly new age-y instrumental music a la Yasmin Williams . . .

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Transmissions :: Steve Von Till

Podcast Steve Von TillPosted on

Welcome back to Transmissions. This week: Steve Von Till, of sludge legends Neurosis, the tribal ambient spin-off Tribes of Neurot, solo albums under this own name, and the psych folk project Harvestman. He runs the independent label, Neurot Recordings. And as if all that isn’t enough, he’s also a poet, and an educator—when he’s not playing music, he’s bringing knowledge to the next generation, working as a fourth grade teacher in North Idaho . . .

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Posted on Podcast Steve Von Till

Snocaps :: S/T

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There’s a real pleasure in hearing genetically linked voices singing together, as the individual ticks and characteristics meld in a single, dizzying tone, and especially these two with their burred Americana grace. Add to that the multifarious contributions of MJ Lenderman, playing drums, bass, electric guitar and 12-string, and Megafaun’s Brad Cook (bass, drums, recording and engineering), and you get an extraordinary debut record, wry and self-lacerating in parts and kick-down-the-amps rowdy in others . . .

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Wouter Dewit :: Still

Wouter DewitPosted on

Via Hasselt, Belgium. These fleeting weeks between Halloween and Christmas, when the polyester cobwebs on the front porch are swapped out for tinsel garland, have no time to stake out their own identity. They're forever lost in transit from one holiday to the next. But during these ephemeral days between "The Monster Mash" and "Silver Bells," an album like Wouter Dewit’s Still (2017) finds its place, mirroring the shift in seasons —and in ourselves—with bittersweet introspection . . .

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Posted on Wouter Dewit

Dollar Diamonds :: Volume Three

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There’s a lot of great records out there that can still be had for very little money. You just have to crouch down and give them a chance. How is it possible that these 2-sided slices of the human spirit can exist among us, in some cases, for over 50 years and still only be $1?

Welcome to Dollar Diamonds, Volume 3. This month: Jesse Winchester, Eric Andersen, Neil Diamond, Doug Kershaw, Graham Parker, Tom T. Hall, and Robert Palmer . . .

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Paul McCartney & Wings :: Loup (1st Indian On The Moon)

Paul McCartney WingsPosted on

With a new oral history providing fascinating context on the self-proclaimed "madcap" formation and career of Wings (a good chunk of which comes from Paul McCartney himself), spacey instrumental "Loup (1st Indian On The Moon)" has proven worthy of a closer listen. The deep cut oddity from 1973's oft-maligned Red Rose Speedway is an experimental studio piece featuring Minimoog synthesizer and plays out like a mini-prog opus, a little reminiscent of a Pink Floyd soundtrack cut. "Hard to explain", in the musician's own assessment . . .

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Posted on Paul McCartney Wings

Happy Thanksgiving :: Doug Sahm And Friends – Austin, TX 1972

Doug Sahm ThanksgivingPosted on

Tradition runs rampant around Thanksgiving: generations of old recipes, football, Alice’s Restaurant, and, of course, a parade of balloons shutting down NYC. What else do you need? If you thought you were covered in the Thanksgiving tradition department, we did too…until a few years ago, when someone blew the dust off a long lost tape — Doug Sahm’s Thanksgiving Jam . . .

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The Joys of Cookin’: Tracks from Groove Merchant, 1971-1974 (A Mixtape)

MixtapesPosted on

Founded in 1971, Sonny Lester's Groove Merchant label was pretty far removed from what was going on in jazz at the beginning of that decade. Fusion, black power, spiritual jazz and ECM were all happening elsewhere. Maybe that's what makes it so much fun. Groove Merchant was content to serve up sweaty, funky party jazz, brimming with flute blowouts, wicked guitar and miles of Hammond B3 soul. Thrown in some softcore cover art, and you've got something cooking. Lester's short-lived label had grooves to spare. Call it a case of truth in advertising . . .

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Sessa :: The Aquarium Drunkard Interview

Brazil Sessa The AD InterviewPosted on

On the eve of releasing his third album Sergio Sayeg, aka Sessa, is finally feeling comfortable with the idea that this is what he does for a living. But it's more complicated than that. He's a Brazilian musician recording modern Brazilian music with strong vintage references for an American indie label. He's one in a long line of Brazilian musicians with international audiences. With the birth of his son in 2022, he's also a father and his priorities have flipped, challenging him to find new ways to tap into his creativity and grow as a musician . . .

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Posted on Brazil Sessa The AD Interview

Matt LaJoie :: Stonehouse

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Ambient guitar mage and Flower Room Records impresario Matt LaJoie returns with the sprawling Stonehouse, a voyage to the far reaches of kosmische innerspace by way of midcoast Maine. While LaJoie’s Ayurveda-rooted “elements cycle” emanated a mellow bliss, Stonehouse and the corresponding tour document, Hiawatha Service, mark both an evolution and fruition of LaJoie’s ever-expanding sonic vision and incorporates the heavier leanings of his days with northeast psychedelic jammers Herbcraft and the dub-inflected soundscapes released under his ML Wah moniker . . .

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Posted on Matt Lajoie