Originally released in 2016 and 2017 and built on sounds recorded in the '80s and '90s, Woo's Robot X and Xylophonics have been reissued by Independent Project Records, forming a sci-fi saga of mechanized exotica, dubby rhythms, and robo-minimlism . . .
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Orions Belte return with their second Lagniappe Session, a follow up to their 2021 entry which found the Norwegian trio transfiguring material from the likes of Mac Miller and Danzig. This time out they transmute tunes by two disparate American artists: the late rapper XXXTentacion’s 2017 single “Jocelyn Flores”, and roots iconoclast Lucinda Williams’ “Copenhagen” via her 2011 LP, Blessed . . .
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There’s another Bandcamp Friday on the horizon (April 5, to be exact) — so if you’re in need of some recommendations, we’ve got ‘em. Dig into fresh sounds and put some well-deserved cash in the pocket of these artists and labels . . .
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Dub from creation. 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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It’s been five years since the last Phosphorescent album, a dark half decade for most people and especially for those in the performing and creative arts. So it’s not surprising that when Matthew Houck first glimpsed the contours of what would become Revelator, the album seemed like it would be quiet, insular, inward-looking and maybe a bit of a downer. But a funny thing happened when Houck began working and reworking this material. It caught an updraft of hope, of expansiveness, or cosmic revelation. First and second takes with a core band yielded a free, unfettered sound . . .
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This week on Transmissions, Aquarium Drunkard founder Justin Gage joins host Jason P. Woodbury to discuss big changes coming to Aquarium Drunkard: AD is transitioning to a membership-based model subscription model on April 8th. Transmissions has a very smart audience and one that’s tapped in—so we likely don't need to explain to you how much the online landscape has changed, but this decision wasn’t reached lightly, and this conversation will shine some light on the reasons behind our moves . . .
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The internet is an increasingly goofy place — formerly great websites gutted, excellent writers/creators put out of work, horrible user experience, enshittification wherever you look. The algorithm is a trick, SEO an unknowable riddle, social media a bad joke. Like so many other things, this downward spiral feels inescapable/inevitable. But the spiral isn’t the only option. In fact, it’s easy to go back to a simpler World Wide Web, an Edenic online experience made up of unique digital gardens with unusual perspectives and outlooks. Nothing’s perfect — that’s for sure. But there’s gotta be a . . .
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Is On The Beach a bummer? Well, maybe. But it’s a brilliant bummer. To celebrate 50 years of the record, dig into an alternate version of the album, made up of rare live renditions and fireside sessions. Neil didn’t often return to many of these tunes onstage, but when he did, he gave them his all. Some of it is solo — “alone at the microphone;” elsewhere, Young is joined by CSN, Ben Keith and, most interestingly, Britfolk legend Bert Jansch, who shows up on a 2006 version of “Ambulance Blues . . .
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Some serious heat via Bamako, 1973. Having been founded by saxophonist and trumpeter Tidiani Koné as the official orchestra of the Malian state railway three years prior, Rail Band’s self-titled long player, which currently sees reissue via Mississippi Records, is a scorching document of a restless and formative blend of soul, funk, and jazz with traditional West African and Afro Cuban music . . .
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Kicking off Nippon Psychedelic Soul 1970-1979, the latest from London-based reissue outfit Time Capsule and the follow-up to their Nippon Acid Folk compilation, is Hiroshi Kamayatsu’s “Have you smoked Gauloise?,” a masterstroke of orchestral, mutant-pop . . .
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Petra Haden and Mike Watt discuss their nuclear opera Planet Chernobyl, released under the Pelicanman banner and based on the work of poet Charles Plymell: "It's human expression," says Watt . . .
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Fosse’s footprint on music may be small, but there are worlds contained within his releases. Since 2018, SF-based synth and guitar voyager Tyler Chamberlain has shared three sets of recordings—his evocatively titled 2018 debut, Spelunking with Marbles in my Mouth and Fireflies in my Pocket; an instrumental MBV cover given Kevin Shields’ blessing; and now this collaboration with alto saxophonist Ben Almén and guitarist Gyan Riley (son of Terry . . .
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Incoming transmission from Roger Eno. This week on the show, he joins us for a freewheeling, friendly chat about art, place, and Dune (1984). Eno began his recording life in 1983, when he joined his brother Brian and Daniel Lanois at the latter’s studio in Hamilton, Ontario, to cut one of our favorite albums of all-time, Apollo: Atmospheres and Soundtracks. Imbued with country and western ambiance, it suggests the vastness of space and man’s ventures into it. Not only that, but it serves as one of the foundational documents of the "ambient country" subgenre that practically forms . . .
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The New Eves—the Brighton-based quartet of Nina Winder-Lind, Kate Mager, Ella Oona Russell, and Violet Farrer—craft a rousing brew of post-punk, drone-folk, and avant-choral psych that evokes The Raincoats, Nico, Television, and Horses-era Patti Smith in equal measure, offering one of the more exciting new sounds we’ve heard this year . . .
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What happens when a renowned collaborator records a solo album? That’s the question when considering Jim White’s first solo endeavor, All Hits: Memories. White first came to prominence as the drummer for the seminal Australian band Dirty Three and now comprises the other half of a slew of duos, including Xylouris White, The Double, and with Marisa Anderson. Additionally, he's provided percussive wizardry to songs by Cat Power, Bonnie “Prince” Billy, PJ Harvey, Bill Callahan, and many others. White has an innate ability to adapt to the particular tone of a song, his contributions are always apt . . .
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