Steve Gunn, Rick Brown (75 Dollar Bill) and drummer Jim White join Aquarium Drunkard to discuss the lasting appeal of the two-piece band in improv and experimental music . . .
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The songs are good, but the singer overshadows them, making strummed blues folk unpredictable and mesmerizing with the sheer intensity of her delivery. You could go right back to Karen Dalton for comparisons or stop more concurrently with Joanna Sternberg, but these singers are idiosyncratic in different ways. Prewn is a band that sounds like nothing else, brash and ballsy then achingly vulnerable, but always in thrall to strong feelings . . .
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Maverick composer Arnold Dreyblatt joins us from his Berlin home base to discuss his visual art background, collaborating with Megafaun and Jim O’Rourke, the enduring rhythms of Bo Diddley, and his latest album, Resolve . . .
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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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Based on sheer musicality, Wolf City could be the strongest record Amon Düül would ever make. The ensemble’s second record of 1972, released just a couple months after its predecessor, removes theatrics, limits improvisation, and its blistering riffs shake the very foundations of psychedelia. Things get quaking in wavering slink. The entire world begins to reverberate around the serpentine exchange of acoustic and electric guitar interplay. A false chorus ushers in a fiddle led freak-out and synthesizers begin to malfunction before heading into a lull . . .
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Welcome back to Aquarium Drunkard Transmissions, so glad to have you here once again. Our guest this week is Will Sheff, known for his solo work and years with the indie rock band Okkervil River. In this conversation, Sheff and host Jason P. Woodbury cover a wide stretch, examining how the indie rock landscape has changed and evolved over decades, exploring the spiritual core at the heart of his music, and hearing stories about his interactions with luminaries like Roky Erickson and Jason Molina . . .
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Before the Mahavishnu Orchestra lit the inner mounting flame, before Chick Corea returned to forever, even before Miles Davis ran the voodoo into the great electric beyond, The Tony Williams Lifetime was melting minds and faces with their incendiary double-album debut, Emergency . . .
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Amancio D’Silva, a Bombay-born, UK-based jazz guitarist and composer, cut his teeth playing with fellow musicians from the English jazz scene, releasing two albums of his own in the late sixties—Integration and Hum Dono with saxophonist Joe Harriott—leading up to his visionary Dream Sequence album, released in 1972 under the collaborative moniker Cosmic Eye. Imagined as an unofficial sequel to that album, though something tighter and more controlled . . .
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Ruth Garbus finds the extraordinary in the most mundane objects, the noise of traffic, the feel of a rubber ball in the hand, the comfort of two small squares of dark chocolate and one or two vials of red wine. These quiet songs, sublimely introspective yet recorded with friends in front of a live audience, have a still, luminous power . . .
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In this week’s episode, we hear stories of Sunburned Hand of the Man’s earliest jamming and meet more members of the band. We learn that, after jamming namelessly for a year and a half, the band finally started using the Sunburned moniker. Then we tune in to learn about their earliest excursions playing outside the Charlestown loft, including their first show as Sunburned as part of an exhibition at the Institute of Contemporary Art, Boston. We hear how the interplay between these new locations and contexts provoked new modes of performance and artistic connections . . .
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In 2019, director Chad Stockfleth released a lo-fi, VHS-only documentary A Future History Of: The Elephant 6 Recording Co. Following that limited rollout, documentarian Lange Bangs—whose footage was used extensively in the film—came onboard with the folks behind 2020's Other Music doc, producer Rob Hatch-Miller and editor/producer Greg King, to streamline and expand the documentary. The resulting film, now titled The Elephant 6 Recording Co., sees official release on today. Bangs joins us to reflect on the Elephant 6 scene . . .
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For the latest installment of the VIDEODROME column, we sat down with writer and screenwriter, Kim Morgan, to discuss Frank Perry’s Play It As It Lays (1972), Tuesday Weld and Anthony Perkins, and driving in Los Angeles . . .
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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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Summer is the time for fusion. No, not the heady thought-provoking churning jazz skirmishes with psychedelia of Herbie Hancock’s early Headhunters or Miles’ brooding early 70s offerings. This calls for truly catchy grooves, more funk than conventional jazz, and beats per minute that soar as high as the mercury. Jaco-era Weather Report fits the bill, as does the seemingly cocaine-fueled filth funk summoned anytime Miroslav Vitous picks up the electric bass. And lest we forget the odysseys of the craft’s perfectionists--Casiopea.
On Bird Raga, guitarist Peter Sprague dives right into this mode . . .
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Today's guest is writer Laura Snapes. Her work has been published by the BBC, Pitchfork, and NME, and she's the deputy music editor of The Guardian. We’ve been aiming to have her for Transmissions for some time now, and now we're so glad we’ve got this episode to share with you listeners, covering the psycho-geology of songs, the climate, varied definitions of the term “Americana,” and her recent listening: Julie Byrne, Be Your Own Pet, Róisín Murphy, and Jesse Lanza. Plus, the occult roots of Aphex Twin and what it means to . . .
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