Following the success of Easy Rider, Peter Fonda tried his hand at directing with two wildly different films. Both feature a score by the influential musician Bruce Langhorne, and one is a minor masterpiece that attempts to rewrite the rules of the western genre . . .
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The Feelies connection to the Velvet Underground goes long and deep. As gawky teenagers, Glenn Mercer and Bill Millions put VU on the same tier as the Beatles. Their jittery, drone-y, laconically delivered Crazy Rhythms sounded like no one else, except possibly the Velvets. The band covered “What Goes On” on their 1988 album Only Life, and, about the same time, got a chance to play a show with Lou Reed at the Orpheum Theatre in New York City. Reed himself once told Bill Millions that the Feelies were the only band that ever “got” the Velvet Underground . . .
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The majestic return of The Amazing. A swift decade has passed since the Swedish group burst onto the scene with the panoramic, coastal folk of sophomore stunner Gentle Stream. Following a gauntlet of stateside touring, the band reclusively hunkered down. For patient loyalists, the coming years saw a quiet, steady run of expansive records building upon atmospheric, heavily layered jams in riveting unison with the haunting ballads . . .
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As Western rock music dominated the global airwaves of the 1960s, perhaps no region adapted this music into such a rich and swirling stew as did Turkey. Mixing the heavy riffs of Zeppelin and the Stones with traditional Anatolian folk melodies and instrumentation, the Turkish psych rock of the golden era (1960s-80s) surely represents some of the most gloriously untethered interpretations of the classic rock canon . . .
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Flamingo Heights transcends ambient music and becomes a pastiche of psychedelia, cosmic-country, and French lounge, alternating between what you’d hear drifting on the wind while meditating on a Mojave sunset and what would be piped through the PA speakers of a retro-futuristic vestibule while valeting a rocket ship on some distant planet . . .
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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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Welcome to the eleventh installment of First & Last, a series of mixes providing a glimpse into the world of Japanese private press, or 自主盤, pronounced “jishuban”, which loosely translates to “independent board . . .
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Welcome back to Transmissions. We're still buzzing from this last weekend, which saw a live taping of Transmissions at The Philosophical Research Society, the Los Angeles campus founded in 1934 by esoteric scholar Manly Palmer Hall, featuring Matt Marble, an artist, author, audio producer and director of the American Museum of Paramusicology . . .
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Dan Knishkowy’s Adeline Hotel takes many forms, from blues-folk guitar to pensive piano ballads to this, an exercise in breezy, carefully orchestrated jazz, dense with strings and woodwind instruments but full of light and air and clarity. This is buoyant, serene music, without much sweat or strain in it . . .
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Transformer, released in late 1972, gave Lou Reed a dose of the success that had eluded him in the Velvet Underground days. He almost immediately brought that momentum to a halt with Berlin, which hit record stores 50 years ago this week.
To dig deeper into Berlin's mysteries, check out an alternate version of the LP, gathered from a variety of sources over the decades — home demos, live shows, etc. — with a few guests along for the ride, including ANOHNI, Sharon Jones and John Cale. Caroline and Jim are waiting for you down by the wall with a little . . .
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By dabbling in outtakes, demos, and live cuts, Archives Vol. 3 tracks Joni Mitchell's evolution in the early '70s, right down to the dead ends and paths not taken. The studio tracks offer fly-on-the-wall glimpses into Mitchell's working process . . .
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Back in the deep, bleak, pandemic dog days, Be With Records struck a deal with the legendary Parisian library music catalog, Tele Music to reissue the very best, most sought-after LPs in the catalog. With much of this music now commercially available for the first time, the series of albums recently reissued presents an expansive grip of heavy funk, drama-jazz, deep disco, synth-wave, psych-rock, cosmic soul and beyond . . .
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Home-recording psychonauts Chad VanGaalen and Astral Swans share the sides of this fun and beguiling little EP. The longtime collaborators from Calgary, Alberta have played a role in each others’ recording sessions since the late aughts, and both stayed busy. For the past three years, CVG has performed live electronic scores to silent films as his Black Mold alter-ego, while singer-songwriter Matt Swann recently teamed up with Julie Doiron . . .
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This is the last episode of the podcast! We start with comments from Sunburned members reflecting on the impact of press coverage and ensuing exposure on the band. This shifts to general comments about how they’ve navigated – and oftentimes defied – external expectations. This section closes on the role humor has played in the band. Then we shift to comments and stories shared by friends, collaborators, and fans of Sunburned Hand of the Man, including thoughts from Thurston Moore, Ethan Miller, Neal Campbell, and more! We close out the episode and the podcast with a final thought from each of . . .
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Long time crate staple. All killer, no filler. Rikki Ililonga's debut LP, as reissued via Zamrock specialists Now Again Records . . .
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