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Transmissions Podcast: Car Seat Headrest / Bob Mehr

Welcome to the second episode of Aquarium Drunkard's newly rebooted Transmissions podcast, our recurring series of unique discussions and extraî±o sounds.

On this episode, we spoke with Will Toledo of Car Seat Headrest, whose new album Teens of Denial comes out this Friday via Matador Records. It's a fantastic record, bigger and more fully realized than before, and it reflects the transition from solo project . . .

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Krano :: Requiescat In Plavem

Lost records come of many vintages. By comparison to long-lost '60s and '70s nuggets, Requiescat In Plavem, recorded only as far back as 2012, might seem a bit too fresh for "lost classic" status, but damn if there isn't some mystical appeal at work in these songs.

Recorded by Italian songwriter Marco Spigariol, singing in the Italian dialect of in the hills of Valdobbiadene on a Tascam 8-track, the album taps into uncorked Neil Young vibes on album opener "Mi E Ti," offers up woozy folk on "Busiero," and goes arcane places with the creeping "Vergine De Luce," Spigariol saying as much with a fuzzed-out guitar as he does with his far off vocals, sung in the Vento dialect.

Krano :: Mi E Ti

"When I received this record I had no idea what I was getting myself into," Jonathan Clancy of Maple Death Records says. "It came with no notes, just a letter in broken English. For days I made up lyrics to it trying to crack and uncover the language, dreaming of some Latin American retreat. Little did I know I was actually taking a stroll up the Piave river, plunging through pre-war cascades, seeing feverish trees set mountains in motion and a Veneto valley full of psychedelic beauty naked in front of my eyes."

Luckily, Maple Death has rescued and reissued this gem, laden with Morricone dread and Shakey looseness; it's low key and deeply-felt, and after recording the album Spigariol hung up his music hat, leaving behind this spooky thing, suitably humid listening as we ease into summer. words / j woodbury

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Aquarium Drunkard Presents :: Ben Watt — Deep Folk 6 / Mixtape

Ben Watt's a lifer -- one-half of electronic duo Everything But the Girl, a producer, DJ, and author. His latest record, Fever Dream, features collaborations with MC Taylor of Hiss Golden Messenger and Marissa Nadler, and finds him mining inspirations he's cultivated over two decades, its hazy, soulful songs unfurling with ease and calm confidence.

For the last few years, he's assembled "Deep Folk" mixtapes, blending field recordings and effects with haunting songs. Below, Watt shared his latest (the sixth installment in the series) as well as a few words about the mixtape's origins, with AD.

I began my Deep Folk Mixtape series about three years ago. I had recently pressed the pause button on my DJ life. After my band with Tracey Thorn, Everything But The Girl went on hiatus in 2000 I spent the next twelve years immersed in underground electronic music, which had had hit me as a new way of hearing and playing music to me after years writing in a similar way - like a long-term painter being introduced to collage. It felt fresh. I ran club nights, launched two labels, co-owned two venues for a while, and traveled many weekends of the year at home and abroad to play deep underground house in basements and ballrooms.

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FORM Arcosanti :: 2016

Sunday evening, just before the sun set over Arcosanti, the experimental city  founded by the late "arcologist" Paolo Soleri in the 1970s in Arizona's high desert, Bill Callahan and his band took the stage in the beautiful amphitheater. Quietly -- as is Callahan's way -- the combo began playing an elegiac version of Prince's 1992 jam "Money Don't Matter 2 Night."

"If there's any place Prince could hear us, we figured it was here," Callahan intoned.

The setting, with a steady breeze rustling overhead, was perfect. It's no mistake that this place, with its ornate domes and ancient-future feel, was chosen by electronic group Hundred Waters as the site of its FORM Arcosanti festival. A beautiful drive up the Black Canyon Freeway, an hour north of Phoenix, the third annual festival was stretched over a weekend in May, featuring sets dispersed throughout Arcosanti's theaters and incorporating non-traditional performance spaces: Bing & Ruth composer David Moore played a grand piano on the edge of a cliff, the wind coursing through cypress tress adding a sonic layer his rippling, minimalist arpeggios; Four Tet and Skrillex collaborated deep in a canyon, on the colorful Elestial Stage.

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VDSQ 2016 :: Michael Chapman, Sarah Louise, Tashi Dorji and Kristin Thora Haraldsdottir

Vin du Selecte Qualitite's founder Steve Lowenthal literally wrote the book on John Fahey (Dance of Death: The Life of John Fahey, American Guitarist, 2014), but don't assume that the artists on his label are mere Fahey imitators. Far from it. If anything, become a member or log in.

Mr. Stress Blues Band :: Live at the Brick Cottage, 1972-1973

The guy staring out at you from the cover of this collection may not look like a blues god -- maybe a little more like your local electrician. But it only takes a few seconds to be convinced. Bill "Mr. Stress" Miller was something of a local institution in Cleveland, playing no-nonsense electric blues boogie in dive bars for decades until his death in 2015. The lineup of the band that bore his nickname was of the revolving door variety -- and become a member or log in.

Psychic Temple :: The Aquarium Drunkard Interview

Psychic Temple is on a tear: In the last couple weeks, the group, led by composer/songwriter Chris Schlarb, has released not one but two excellent records, the loose-limbed Psychic Temple III and a reimagining of Brian Eno's 1979 album Music for Airports.

The twin albums demonstrate Schlarb's ability to synthesize styles and approaches, combining fusion-era Miles Davis, the English folk rock of Fairport Convention, experimental jazz, rock & roll, R&B, and pop. Working with collaborators like Nedelle Torrisi, Mike Watt, David Hood, Spooner Oldham, and more, the recent work reflects the blooming of Psychic Temple from a conceptual solo project to a full band, capable of strutting boogies, progressive complexity, and sophisticated grooves, and for the first time, confident, commanding vocals. Schlarb discussed the new albums with AD from his place in Long Beach, where he was prepping to head out on tour.

Aquarium Drunkard: This is the third Psychic Temple release, but the first billed with Psychic Temple and the band.

Chris Schlarb: I feel like there’s been a wholesale transformation since the first record. For me, there’s a thousand connecting threads. Damn near all the same people who played on III played on I, it’s just the context is different. I’m singing, rather than it being this exploration of ambient music and jazz and folk. But by the time III rolled around, I was a bit more adamant about [releasing it as a Psychic Temple record]…It was a little bit easier to convince them this time around.

AD: Psychic Temple III definitely sounds group-oriented.

Chris Schlarb: It turned into a band. There was a core of people who kept coming back, and we just kept exploring new territory, but we were doing it together. I really love the idea that this is its own entity. In the future, if I put out any records under my own name, those will be different even still.

Psychic Temple :: You Ain't A Star

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Beatles :: Child of Nature (The Esher Demo Tapes, 1968)

Unreleased John Lennon bit from the Esher Demo Tapes, recorded at Kinfauns in Surrey, England. We know it as "Jealous Guy" via Lennon's 1971 Imagine LP . . .

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Rollin’ Up The Rim: A Vintage Canadian Mixtape

Two sons of Tommy Douglas invite you on a spring trip across Canada. From lonesome provinces to cosmic territories, and everywhere in between. A place where private press unknowns stand as tall as under-appreciated legends. Enjoy the ride.

Anne Murray - Buffalo In The Park
Luke Gibson - All Day Rain
Bruce Cockburn - Going To The Country
Dunleath - And That's For Sure
Bill Wing - World For Sale
Dixie Lee Innes - Queen of Colby Kansas
Sim Rushton - Just Watching P.E.I.
Mirth - Going Away
Ernie Manera - Just Another Pretty Face
Jim Munro - Snow . . .

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How Small We Are (A Mixtape)

Our ongoing collaboration with Zach Cowie, aka Turquoise Wisdom, returns with How Small We Are — A Mixtape. Tune in and turn on this Friday as Cowie guests on our SIRIUS show — channel 35, noon EST.

(artist - song - album - label)

intro- an interview with simon jeffes over the intro to part II of gorecki’s symphony no. 3
daniel lentz - solar cadence - after images . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 432: Jean-Michel Bernard — Générique Stéphane ++ Tommy James - Midnight Train ++ Caetano Veloso - Nine Out of Ten ++ Della Humphrey - Dream Land ++ The Combinations - While You Were Gone ++ Mighty Voices Of Wonder    - Every Year Carries A Number ++ Francis Bebey - Douala, O Mulema ++ Jim Woehrle & Michael Yonkers - Monkey's . . .

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Tarpon :: A Soundtrack (1974)

Before Jimmy Buffett became a corporation, he was a rangy and somewhat ragged country-folk singer/songwriter living a low finance life, still discovering his marketable Margaritaville persona. One of the projects he worked on in those early 70s Key West days was the soundtrack for a now mostly forgotten, but oft-times beautiful impressionistic fishing film / hippie travelogue called Tarpon.

At the time, Buffett was hanging out with a group of fellow cosmic American artists, all in search of fun and adventure. These included writers Tom McGuane, Richard Brautigan, and Jim Harrison, painter Russell Chatham and film makers Guy de la Valdene and Christian Odasso (Odasso had recently completed We Have Come For Your Daughters, which followed a 154 person bus and truck tour spreading “the gospel of flower power” throughout the U.S.). In a 1986 posthumous article about Brautigan in Rolling Stone, this group was described as a loose collective of “rough cut, highly competitive male artists.”

And though they were competitive, there was an overriding camaraderie among the men — evident in de la Valdene’s and Odassos’ Tarpon film. Tarpon is a fishing film in the same way John Lurie’s surreal early 90s Fishing With John series is about fishing. The sport is partly a vehicle to explore larger philosophic questions and reflect on nature and humanity.

Tarpon :: Soundtrack Excerpt One

Buffett’s soundtrack is low-key, laid back country akin to the textures on his albums of the time - A White Sport Coat and a Pink Crustacean, Living and Dying in  ¾ Time, and A1A — but all instrumental. The music accentuates the cinema verite / pseudo-documentary nature of the film. The hippies, the tourists, the grizzled old salts; atmospheric, moody shots of fly fishing in the sub-tropical heat and giant tarpon jumping in the scattered sun (bringing to mind the cinematography of Peter Fonda’s 1971 The Hired Hand). Informal interviews with McGuane and Brautigan are highlights, Brautigan’s in particular as he expounds from a hammock, one of the only existing instances of him ever captured on film.

It’s not all existential mellowness, however. In a particularly brutal and jarring sequence, a deckhand on a tourist excursion fishing boat wears a “shark killer” t-shirt and seems to take perverse pleasure in clubbing small sharks to a bloody death while the passengers watch uneasily, not sure whether to laugh or look away.

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Kaitlyn Aurelia Smith :: The Aquarium Drunkard Interview

In the market for an expansive, dreamy headphone record par excellence? You couldn't do much better right now than Ears, the latest by Bay Area composer Kaitlyn Aurelia Smith.

Mining influences like the minimalism of Terry Riley, Suzanne Ciani and Laurie Spiegel, the films of Hayao Miyazaki, and the cartoons of Jean Giraud Moebius, Smith's vision is kaleidoscopic and breathtaking, equally evoking rich earthiness and cosmic expanses. It's an enveloping, moving record, blending woodwinds played by Rob Frye of Bitchin Bajas, bubbling arpeggios, and Smith's vocals, multi-tracked and densely layered.

AD spoke with Smith from her home, where she was prepping for her upcoming tour with Animal Collective, packing last minute provisions and gearing up for live performances.

Kaitlyn Aurelia Smith :: First Flight

Aquarium Drunkard: I have my own personal experiences listening to Ears, but I wonder: Were you trying to evoke anything like a specific mood on this record?

Kaitlyn Aurelia Smith: My intention was to create a sonic motion ride through a futuristic jungle. I wanted it to be heard straight through, from beginning to end, so that it feels like it has an intentional arc to it. Well, it's pretty straight "up," so it's more a ramp than an arc. I can't presume everyone will listen to it straight through, but that was my intention.

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Ilian :: Love Me Crazy

"Anybody can throw a bunch of licks at your face," Endless Boogie's Paul Major writes in the liner notes of Anthology Records' new reissue of Ilian's 1977 pop gem Love Me Crazy. "Communicating, telling the story is where it's at."

"When you hear my songs, you always good," Leon D. Nahat -- Ilian himself -- says from his place in Flagstaff, Arizona. "When you hear a song and you want to play it again, that's . . .

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