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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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Posted on Hollywood Kenny

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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Posted on Lagniappe Sessions Wet Tuna

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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Posted on SIRIUS

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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Posted on David Sylvian

Shane Parish :: Autechre Guitar

Autechre Shane ParishPosted on

It's unclear what gave Shane Parish the borderline insane idea of doing solo acoustic covers of Autechre on guitar, somehow notating and rearranging the liquid textures of the experimental electronic duo into wobbly diatonic diagrams. It's even more unclear how he was able to rigorously pull it off. Through Autechre Guitar, Parish, the head of Ahleuchatistas and a member of the Bill Orcutt Quartet, maintains the sparse, glitchy ambience of the originals while placing something else entirely in its place, with just his fingerstyle technique and the ability to, with it, form these ghostly layers of superimposing concentric . . .

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Posted on Autechre Shane Parish

Spencer Cullum’s Coin Collection 3

Spencer Cullum's Coin CollectionPosted on

Coin Collection 3 marks the bittersweet conclusion of Spencer Cullum's trilogy of collaborative Coin Collection records. Like the impetus for the collective project's ethos established the first two trips around, Cullum's pedal steel guitar and cast of fellow Nashville all-stars conjure up seventies UK folk balladry, seaside krautrock excursions and a healthy dose of the Wyatt/Ayers psych-prog nucleus. This time, the compositions fall under the influence of modern sociopolitical strife as well as literary stacks of homeside mythology and horror-laced folklore. Long live the Coin Collection . . .

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Posted on Spencer Cullum's Coin Collection

Laurindo Almeida Quartet Featuring Bud Shank (1955)

Bud Shank Jazz Laurindo Almeida Quartet Midnite JazzPosted on

Before landmark bossa nova records like Antônio Carlos Jobim’s The Composer of Desafinado, Plays (1963) and Getz/Gilberto (1964), there was Laurindo Almeida Quartet Featuring Bud Shank (1955). This quiet trailblazer of Braz-jazz not only meets all the criteria for Midnite Jazz, but also captures the nocturnal side of midcentury Brazilian samba/West Coast Jazz fusion . . .

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Posted on Bud Shank Jazz Laurindo Almeida Quartet Midnite Jazz

All One Song: A Neil Young Podcast and Big Ears 2026 Live Streaming Morning Show

All One Song Big Ears PodcastPosted on

Aquarium Drunkard Transmissions is returning to your podcast feed. We are pleased to announce season two of All One Song: A Neil Young Podcast and Aquarium Drunkard Transmissions' streaming morning show at Big Ears. Join us March 26 for a special episode featuring Thurston Moore and Kramer, and then April 1 for Ira Kaplan of Yo La Tengo on AOS . . .

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Posted on All One Song Big Ears Podcast

Yukihiro Takahashi :: Saravah!

Japan Yukihiro TakahashiPosted on

A sojourn into any old Paris nightclub, circa late seventies. The suave and funk-laced exotica from those speakers just might have sounded like something straight from Yukihiro Takahashi's glossy debut record Saravah! While 1978 was the year of the Yellow Magic Orchestra trio's pivotal debut record, it also marked the debut solo offerings of members Ryuichi Sakamoto (Thousand Knives) and Takahashi. A suave affair featuring his YMO bandmates and other Japanese all-stars like guitarist Shigeru Suzuki, Takahashi takes on Italian and French pop, borrows elements from his previous glam/art-rock group Sadistic Mika Band and . . .

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Posted on Japan Yukihiro Takahashi

Linton Kwesi Johnson :: Bass Culture

Linton Kwesi Johnson Reggae/DubPosted on

May 1980, London: Dub poet Linton Kwesi Johnson drops Bass Culture on Chris Blackwell’s Island Records, the first of two LPs he’d release that year. Jamaica-born and Brixton-raised, the album finds Johnson distilling Babylon’s heavy hand into deep, subterranean basslines laced with incendiary street-level missives — “muzik of blood, black reared pain, rooted heart geared, all tensed up . . .

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Posted on Linton Kwesi Johnson Reggae/Dub

Iron & Wine :: The Aquarium Drunkard Interview

Iron & Wine The AD InterviewPosted on

Sam Beam thought he had writer's block as he entered the studio post-pandemic. But it turns out that wasn't the case at all: the sessions produced so much music Beam had to split it into two different albums, 2024's Fiona Apple-featuring Light Verse and his eighth album, Hen's Teeth, released by Sub Pop in late February. "Deciding on which ones go on the record is just an intuitive thing," Beam says. "There’s no right or wrong answers, you just try to find ones that flow into the next, keep you on your toes . . .

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Posted on Iron & Wine The AD Interview

Gregory Uhlmann :: Extra Stars

Gregory Uhlmann JazzPosted on

The SML guitarist moves away from the instrumental collective's fragrant, glitched-up grooves on his new solo album, instead charting a path through weirder waters. Featuring a wealth of pedals, loops, samples and synths, Uhlmann creates a strikingly diverse yet surprisingly simple world, one in which wisdom and naivete strike a tentative balance. Though his sound may be warped and stretched, Uhlmann's peculiar emotional resonance rings clear and true . . .

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Posted on Gregory Uhlmann Jazz

V/A :: Pop Ambient 2026

CompilationPosted on

Drifting in on a familiar frequency, Volume 26 of Kompakt’s annual ambient dispatch feels nocturnal, gently untethered, and softly out of focus. An hour-plus slow exhale, the compilation—like the series itself—lingers in the in-between, favoring atmosphere over immediacy without drifting into aimless abstraction. While open to the casual, passing tourist, these sets thrive in their subtle currents, revealing deeper layers to those who appreciate the power of the pause . . .

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Posted on Compilation

Damaged Bug :: Zuzax

Damaged Bug John DwyerPosted on

Now five albums into the Damaged Bug solo project, John Dwyer brings the pounding krautish grooves you expect, as well as some things you don’t: gothy, baritone, ballads a la Roxy Music or John Cale; 70s-fusion jazz-influenced improvisations, and Afro-beat rhythms. Damaged Bug has always been more open-ended than even the wide-ranging Ohsees, and it’s a treat to see an artist like Dwyer following his own inclinations, wherever they might lead, and often into illuminating new territory . . .

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Posted on Damaged Bug John Dwyer