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

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard every Wednesday at 7pm PST with an encore broadcasts on-demand via the SIRIUS/XM app.

SIRIUS 520: Jean Michel Bernard — Générique Stephane ++ Sly Stone - Coming Back Home (Casio Garage Demos) ++ Luther Fujifilm -   Supra ++ Dump - Raspberry Beret ++ Shopping - The Hype ++ Drinks - Corner Shops ++   Omni - Sunset Preacher ++ Amen Dunes - Calling Paul The Suffering ++ Damien Jurado - Allocate ++ Minami Deutsch - Concrete Ocean ++ Kikagaku Moyo -   Semicircle ++ Fumio Nunoya - Mizu Tamari ++ Die Wilde Jagd - Flederboy . . .

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Tom & Lee :: Folk-Jazz Explorations

Tom & Lee finds the pairing of NYC-based composers / multi-instrumentalists Tom Csatari and Levon Henry. A spirited folk jazz duo, featuring Csatari on guitar, slide, and effects, and Henry on tenor saxophone and clarinet, the longtime collaborators make music that is earnest and untethered. With the release of their debut, self-titled EP, the pair journey through the American songbook and original compositions with a rustic playfulness.

On the Csatari-composed “Perch Blues”, Henry leads with a melody evoking a tree-lined autumnal sunrise; the winds blowing with . . .

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Neil Young :: Dead Man [End Credits]

Last month saw the long-awaited release of the Criterion edition of Jim Jarmusch's 1995 existentialist western Dead Man. In addition to 4K restoration, bonus interviews with Jarmusch and Gary Farmer, deleted scenes, William Blake poetry, and essays by film critic Amy Taubin and music journalist Ben Ratliff, the new edition features never before seen Mi8 footage of Neil Young recording his score. Built on improvised electric guitar sketches, acoustic vignettes, and swelling organ, the soundtrack is perhaps Young's most haunted recording of the era -- which is saying something, considering Sleeps With Angels. Though it's available on streaming services, the record remains out-of-print physically. Hopefully, someone at the Neil Young Archives is working on a physical soundtrack artifact as meticulously crafted as the new version of the film, or at least an expanded version of Jarmusch and Young's next collaboration: 1997's Year of the Horse. words/j woodbury

Neil Young :: Dead Man (End Credits/unreleased)

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Transmissions Podcast :: Mind Over Mirrors/Remembering Art Bell/The Nels Cline 4

Welcome to the April edition of the Aquarium Drunkard podcast, coming in from West of the Rockies. On this program, we explore the late night radio theater of the late Art Bell . . .

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Bandcamping :: Spring 2018

As a digital institution it's hard to beat Bandcamp. It's ridiculously easy to use, it puts money directly into artists' (and labels') pockets and there's a seemingly endless amount of music to discover there – new, old and in-between. Of course, that endlessness can be a little overwhelming. So here are 10 recent releases that have caught and kept our attention so far this year. Share your own in the comments ...

Cian Nugent & Sean Carpio - Inherited Trails: New music from Cian Nugent is always good news. This 10+ minute instrumental jam  with drummer Sean Carpio is a fantastically serpentine duet, harkening a bit back to Cian’s work with Desert Heat. Would I like a whole album of this kind of thing? Why yes, yes I would.

Inherited Traits by Cian Nugent & Sean Carpio

Yuzo Iwata - Daylight Moon: Extremely tasty jams via Yuzo Iwata, a Japanese guitarist who now resides in Philadelphia. Thumping Velvety boogies, Bardo Pond-worthy zoners, achingly strange ballads, feedback laced freeforms … and more! Totally radical.

Daylight Moon by Yuzo Iwata

Tashi Dorji & Tyler Damon - Leave No Trace: Live In St. Louis: I’ve loved Tashi Dorji’s singular stylings for a few years now, but I’ve mainly been listening to his acoustic guitar work. This excellent duo record with drummer Tyler Damon is very much electric. Dorji’s raw, feedback-laced excursions link up perfectly with Damon’s imaginative playing over the course of two lengthy improvs. They may just be two dudes, but the sound they make is BIG. Crank it.

Leave No Trace: Live In St. Louis by Tashi Dorji & Tyler Damon

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

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard every Wednesday at 7pm PST with an encore broadcast on-demand via the SIRIUS/XM app.

SIRIUS 519: Jean Michel Bernard — Générique Stephane ++ Gal Costa — Relance ++ David Byrne & Brian Eno — Regiment ++ The Fall — Marquis Cha Cha ++ Ryo Kawasaki — Hawaiian Caravan ++ Sinkane — Yacha (Peaking Lights Dub Mix) ++ Bob Chance — Jungle Talk ++ Talking Heads — Crosseyed And Painless ++ Rosebud — Interstellar Overdrive ++ Blur — Moroccan Peoples Revolutionary Bowls Club ++ Charlotte Gainsbourg — IRM ++ Ersen — Gonese Don . . .

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Marc Ribot :: The Aquarium Drunkard Interview

On YRU Still Here, the third album from guitarist Marc Ribot, bassist Shahzad Ismaily, and drummer Ches Smith’s Ceramic Dog combo, absurdist rage is made explicitly political, and flamenco is transmuted into scathing punk funk . . .

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Daniel Bachman :: Feast of The Green Corn (Tascam Version, 09)

This track was recorded in the kitchen of 1405 Winchester St. in Fredericksburg, Virginia sometime in October or November of 2009, about a year and a half before Daniel would self-release his first LP Apparitions at the Kenmore Plantation under the name Sacred Harp. “Feast of the Green Corn” would appear as the opening track on that album, and in place of a lush, locust-like drone backing his dense, open-tuned picking, this early version is accompanied by the sounds of creaking wood, beer bottles popping, and friends hollering in the next room — an intimate listening environment familiar to anyone who has ever seen Daniel at a house show. I was immediately transfixed by this vast, melodic piece, and fortunately Daniel let me capture it on my Tascam 4-track as he perched on a rickety stool in the corner of a dirty kitchen on a crisp autumn Fredericksburg night.

Daniel Bachman :: Feast of The Green Corn

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Craig Smith :: Love Is Our Existence (Maitreya Apache Music)

Los Angeles’ Craig Smith, aka Maitreya Kali, is one of the greatest songwriters of the 60s, though his work is known (consciously) to only a small but devoted cult. Craig wrote several big hits for MOR artist Andy Williams, penned "Salesman" which was recorded by The Monkees, and should have found fame and fortune with his brilliant group The Penny Arkade. Thanks to the work of Mike Stax (of Ugly Things magazine and lead singer of . . .

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Kid Millions: 5 Unstoppable Jams Featuring Oneida’s Superhuman Drummer

On the eve of the release of Oneida’s masterful Romance last month, word came through that the long-running experimental rock group’s drummer John Colpitts (who plays under the name Kid Millions) had been in a serious car accident. Fortunately, John is expected to make a full recovery, but medical bills are mounting, and Thrill Jockey has set up a GoFundMe page to help out. Give what you can. For more than two decades Kid Millions has proved himself one of the underground’s most exploratory/explosive musicians, both technically adept and open to all kinds of approaches. No matter what the context, he’s always finding new and exciting rhythmic possibilities. The dude is very prolific, as well. For just a small taste of what the Kid been up to recently, check out a few highlights released in the past year or so.

Charnel Ground - The High Price: An inspired team-up of Kid, Yo La Tengo’s James McNew and guitarist Chris Brokaw (Come, Codeine), Charnel Ground’s debut finds this power trio locking in and blasting off. “The High Price” is a total rager, with Brokaw wreaking glorious havoc above Kid and McNew’s propulsive rhythms for 10 unstoppable minutes. Crank it.

Charnel Ground by Charnel Ground

Oneida - Lay of the Land: Romance, Oneida’s latest double LP, is packed with stellar moments, as the band explores some subtler, but no less gripping zones. “Lay of the Land” is a kosmische wonder, transporting the listener with shifting/drifting textures, driven by Kid’s tensely hypnotic groove.

Romance by Oneida

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Drinks :: Hippo Lite

Marfa, TX: Earlier this month, in what appeared a makeshift rehearsal space, Bradford Cox (Atlas Sound / Deerhunter), Warpaint’s Stella Mozgawa, White Fence’s Tim Presley and Cate Le Bon live broadcasted an impromptu, lengthy jam session via Cox’s Instagram account. Indeed, to be a fly on the wall. The principals were gathered   due to their involvement in this years Marfa Myths; the recurring music festival produced and programmed by the Brooklyn label Mexican Summer. Accordingly, things got pretty far out with some inspired moments peppered . . .

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Wye Oak :: The Aquarium Drunkard Interview

On The Louder I Call, The Faster It Runs, Wye Oak synthesizes the disparate strands that have run through its discography over the last decade into one solid form. Synthesizers hum, electronics whirl, guitars mutate into fantastical shapes. All of this happens without ever losing the human elements of multi-instrumentalists Jenn Wasner and Andy Stack. It's a record sees Wye Oak transformed, but more itself.  "What my heart wishes is a treasure/Seemingly foreign/But somehow still it is familiar," Wasner sings on the slinking "It Was Not Natural."

Though both halves of the duo, which formed in Baltimore in 2006, presently reside in North Carolina, the lp was recorded with Wasner stationed in Durham and Andy Stack based out of Marfa, Texas. But all that geographic distance folds in the album's songs. Built on a foundation that suggests the art-pop grandeur of Kate Bush, the Cocteau Twins, and Peter Gabriel, the record pairs Wasner's interrogative lyrics about moral duty, acceptance, and hesitation with bombastic guitar squalls, lush harmonies, and swelling beats. While previous albums -- particularly 2011's Civilian and 2014's Shriek -- were composed with strict instrumental and conceptual limitations in mind, The Louder I Call, The Faster It Runs pulses with maximalist weight. "We made the world large/And wanting every piece of it," Wasner sings on "My Signal," part acknowledgment of human selfishness and part proclamation of intent. Here, Wye Oak sounds bolder than ever before.

So what does any of this have to do with Metallica? Speaking with Wasner and Stack via phone early in the morning a few weeks ago, I was surprised to find myself bringing up the Bay Area metal band as I fumbled to find the right language to discuss the ego-less approach Wye Oak employs. Luckily, two had rewatched the 2004 documentary Some Kind of Monster  on tour recently, and it proved a useful tool for illuminating what makes the project work. Our conversation, condensed and edited, is presented here. The Louder I Call, The Faster It Runs is available now from Merge Records.

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Sly Stone :: The Casio Garage Demos

Society is intrigued with reclusive artists, the ones who achieve some measure of success only to seemingly shun the fame and notoriety that accompany it, quickly disappearing from public view. There's practically a cottage industry devoted to it. See: the crazed, drug-fueled stories surrounding the likes of Syd Barrett, Brian Wilson, and Skip Spence. But few remain shrouded in as much mystery as Sly Stone, who but for the grace of God turned 75 in March of this year.

Known to live out of an ever-traveling RV, and nearly impossible to track . . .

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