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Making the Scene :: Catching up with Programme 4’s Rachel Lichtman

Rachel LichtmanPosted on

Alongside her work directing music videos and documentaries, Rachel Lichtman expertly crafts and currates media that feels beamed in from an alternate reality. Don’t mistake them as simple sendups or exercises in damaging nostalgia. As Lichtman describes: “It’s not just about an aesthetic. It’s really [about] truly being able to trek out into a better world. A world that we were promised . . .

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Colleen :: Libres antes del final

ColleenPosted on

We often say that electronic music has a pulse, but on the standout title track, that pulse seems less like a metaphor and more like an actual heartbeat, thumping with effort but fully capable of maintaining itself over long periods. The title, by the way, translates as “free at the end,” and indeed, there is a payoff to this gleaming processional, which explodes with sensation from the halfway point on . . .

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Rachel Love :: The Aquarium Drunkard Interview

Rachel Love The AD InterviewPosted on

Originally a founding member of the pioneering all-female trio Dolly Mixture, musician Rachel Love has launched a solo career forty plus years later. Ahead of indie pop purveyors Slumberland repressing her recent solo LPs such as Lyra (a tribute to her late husband/producer Steve Lovell), the musician also plays in new band Railcard with fellow English guitar-pop veterans, a BBC-inspired instrumental project with Martin Newell of Cleaners from Venus and more. Love joins us from her home in Brighton to discuss her career and prolific late career surge . . .

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

SIRIUSPosted on

Chronesthesia. Via satellite, transmuting 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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Brion Gysin :: Dreamachine (1984/1992)

Brion GysinPosted on

Dreamachine gathers Brion Gysin's cult recordings in a blend of ambient, spoken word, avant-garde, minimalism, and afrobeat, mimicking the art device by translating its effects into an audio experience. Produced by French artist Ramuntcho Matta in the late '80s and early '90s, the 32-minute track summons Gysin's artistic ethos to a haunting perfection, building on an enveloping trance-like cadence to achieve an effect that evokes the alpha wave state induced by the original invention . . .

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All One Song :: Ira Kaplan (Yo La Tengo) on “Big Crime”

Neil Young PodcastPosted on

Welcome to All One Song season two. We kick off this exploration of the Shakey-verse with Ira Kaplan of Yo La Tengo. The indie trio has a long history with Neil—the b-side of their second single was a sweet cover of “For The Turnstiles.” But Kaplan doesn't want to talk about an old classic, but rather the most recent Neil song, as of the time of this taping at least. Strap in for "Big Crime . . .

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John Andrews & The Yawns :: STREETSWEEPER

John AndrewsPosted on

On his fifth solo record with backing collective the Yawns, the ever-talented John Andrews channels a number of personal and regional anecdotal experiences within the mellow dazzle of STREETSWEEPER. From hockey to a part time gig working for the NYC Parks Department, the imagery of the record jumps off the screen like one of the artist's painterly animated works. With a bevy of talent including Luke Temple, Star Moles and the Cut Worms rhythm section, it's a bright and optimistic accomplishment with a signature, natural DIY spirit . . .

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Videodrome :: Rolling Thunder (1977)

VideodromePosted on

Rolling Thunder (1977) is perhaps the most salient example of “revengeamatic” films: a grindhouse-style subgenre of revenge films characterized by a protagonist’s methodical quest for payback against those who wronged them. These films are defined by a clear path of cause and effect: an act of brutality sets the process in motion, the protagonist activates the cycle of vengeance, and the plot advances inexorably toward a climactic act of redemption. Films such as Rolling Thunder distill these elements to their most essential function, automating the story into a lean, mean, genre machine . . .

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Luka Kuplowsky :: The Grass Grows, Antonych Grows

Luka KuplowskyPosted on

In his book The Life of Plants, philosopher Emanuele Coccia writes that plants are a kind of cosmic point of tension that binds us all, because they are the sculptors of our very breath. In his new record The Grass Grows, Antonych Grows, Luka Kuplowsky embodies a similar idea to adapt works by Ukrainian poet-mystic Bohdan Ihor Antonych—often written from the perspective of a bug or a flower—into heterogeneous indie jazz soundscapes that can mirror, in their latent sentimentalism, our current climate catastrophe . . .

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Belle and Sebastian :: If You’re Feeling Sinister at 30

Belle and SebastianPosted on

Bookish and wry, beautifully but mutedly arranged for guitar and piano, Belle and Sebastian’s second full-length was out of step with a music industry just recovering from grunge. It came from a group of people who shunned the publicity cycle, doing no interviews, releasing no singles and shunning TV and radio appearances. It came out late in 1996 on the small Jeepster label and very slowly built a following . . .

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Hollywood Kenny :: Destroyer

Hollywood KennyPosted on

The nom de plume of Angeleno studio veteran Kenny Woods, Destroyer is a self-described "tongue-in-cheek, post-pandemic ode to Los Angeles". With a collected and steady prose in the mold of a modern Zevon, the charming pop songwriting eliminates any semblance of novelty from such insular, regional thematics. Topical subject matter aside, the album's deep surveying of the city's sprawling and ever changing shadows is an elaborate preservation act - hypothetical or otherwise. A record where Brando characters sit comfortably next to Beefheart . . .

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The Lagniappe Sessions :: Wet Tuna

Lagniappe Sessions Wet TunaPosted on

Nearly a decade into their sonic trans-dimensional sojourn, Wet Tuna’s Vast, slingshots us sidelong toward the very heart of the Tunaverse— a place where the bass is deep and the vibes flow free down that shimmering stretch of good ol’ astral highway. With this installment of the Lagniappe Sessions, Matt Valentine, Erika Elder, and Jim Bliss serve up a dubbed out Spectrasound love letter to the glorious fuzz’n’scuzz of yesterday’s underground. The Tuna guide us on a rural glam walking tour of downtown NYC with an ever-unfolding take on Lou Reed’s “Walk On . . .

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Transmissions at Big Ears :: Thurston Moore and Kramer

Kramer Podcast Thurston MoorePosted on

Transmissions is back with a special episode: Tyler Wilcox in conversation with underground music lifers Thurston Moore and Kramer. On May 1, the duo release their new album together, They Came Like Swallows - Seven Requiems for the Children of Gaza, out on Ethan Miller’s Silver Current Records, and ahead of their appearance this week at Big Ears Music Festival in Knoxville, Wilcox caught up with them to discuss the new collaboration, their storied history together, and that time the Butthole Surfers freaked out Alex Chilton. They join us to kick off our Big Ears 2026 coverage . . .

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Posted on Kramer Podcast Thurston Moore

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

SIRIUSPosted on

Dubbing In The Front Yard. Via satellite, transmuting 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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The Inward Map: David Sylvian’s Solo Trilogy, 1984–1987

David SylvianPosted on

There's a particular kind of artist who seems to step out of their time just enough to make it visible. Not outside of it, not ahead of it in any obvious, declarative way – but slightly misaligned, as if hearing the decade at a different pitch. David Sylvian, in the years immediately following Japan, became that kind of figure. Not by reinvention in the usual sense, but by subtraction. By quieting things down until what remained felt almost unguarded . . .

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