The Windham Hill sound was inviting and warm, but nonetheless idiosyncratic, a hallmark of a moment when mainstream commercial success and the lack of traditional pop forms didn't negate each other . . .
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Welcome to our first podcast of the year, featuring discussion of Twin Peaks, Sarah Louise's new album, and Desert Oracle's Ken Layne on the upcoming alien invasion. Our podcast is available on Apple Podcasts, Spotify, Stitcher, MixCloud, and TuneIn . . .
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This is the story of taking mushrooms, unintentionally playing a record mastered for 45 RPM at 33, and discovering its shadow self . . . and then discussing the experience with its architect. Sonic examples, for the curious, included . . .
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Billy Swan’s cover of the King’s “Don’t Be Cruel,” the Missouri native takes the fuzzed-out swing of Elvis’ original. Turning it upside through a lounged and syrupy lens. Doubling the song’s length to over four minutes, Swan takes his time with the lovelorn piece – letting the groove guide the way . . .
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Like his work with Deerhoof, Cass McCombs, Ariel Pink, and Weyes Blood, Cohen's gentle psych-pop has always rewarded paying close attention. But Chris Cohen finds the songwriter addressing his world with more candor than ever before . . .
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After last year's streamlined solo album, San Francisco's favorite son returns with the forthcoming Hairdressers From Heaven, the first Sunsets album since 2016. Produced by James Mercer and Yuuki Matthews of The Shins, Hairdressers is also the first on Sonny's new Rocks In Your Head Records label. The album's first clipping, "A Bigger Picture," is pure Sonny & The Sunsets—a sunbaked pallet of instrumentation and voices carrying along an evocative tale both playful and scathing ("Past the Krispy Kreme where the lonely cops meet and share their Nutty . . .
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A "science fiction album about the present,” Why Hasn't Everything Already Disappeared? finds Deerhunter at the mesa of their dream pop playground . . .
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First off, if you haven't done so yet, slide over here and dig in to Jeremy Larson's elegant tribute to the boundless ambition of Talk Talk's 1988 masterstroke, Spirit of Eden. He unpacks it all, the circumstances, the mythology, and, of course, the art -- a document that continues . . .
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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.
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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