With its blasted out drums, scuzzy guitars, and sleek synths, Interiors, the fifth album from Brooklyn synth punk duo The Vacant Lots, cruises into a chrome-plated retro-future. He joins us to discuss Iggy and the Stooges, the Brian Jonestown Massacre, Suicide, and other formative influences . . .
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15 years ago in 2008, singer and songwriter Michael Nau released his band's debut as Cotton Jones Basket Ride, The River Strumming. Only 300 copies were pressed that immediately sold out, making it an obscure, rare record. Suicide Squeeze has recently reissued the record. This is an atmospheric album that is ready for rediscovery, a southern gothic summer night trip . . .
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This week, we hear about the origins of Sunburned Hand of the Man. Here’s an amazing and extremely early glimpse of Sunburned playing live in late 1997. You can see many of the musicians described in this episode! You can check out Shit Spangled Banner’s Ass Run release here, and this is the Discogs entry for the “other” version. Click through the images to see the accompanying note from Byron Coley. Also, here’s Byron’s piece remembering Marc Orleans published in The Wire. And this is an album by Marc Orleans’s band Juneau. We were wondering . . .
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As artists, we all hope to go out on our shields. Live in Brooklyn 2011 is an infallible testament to the unrivaled power of Sonic Youth’s three-decade career, one that saw countless peers and proteges come and go . . .
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Heavy-duty dub fire. Culled from versions produced for the Freedom Sounds label between 1976-1979, Freedom Sounds In Dub serves up some of the most righteous riddims Soul Syndicate ever laid down, all prepared á la dub by none other than his highness, King Tubby . . .
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Rolling in from the other side. Radio Free Aquarium Drunkard on dublab, August 20th, 4-8 PM Pacific. This month, Chad DePasquale drops in with New Happy Gathering, featuring a patchwork of 2023 digs, both new and archival. Jason P. Woodbury’s Range and Basin comes forth with a Sun Ra and Sinéad O’Connor-inspired mix of remixes, dubs, and cosmic comfort blankets. Tyler Wilcox arrives with Doom & Gloom from the Tomb, featuring an hour's worth of deep cuts/rarities/live jams/etc from The Band as a little tribute to the recently departed Robbie Robertson. And . . .
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It’s time to get back into your compact disc collection, where untold bonus track treasures are waiting to be re-discovered. This time around, we’re checking out The Band in Woodstock, a tasty Dr. John / Nilsson collab and Neil Young & Crazy Horse burning down the barn . . .
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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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Jimmy Jumpjump and animator Al Jarnow join us to discuss the rollicking new Sloppy Heads album Sometimes Just One Second, The Grateful Dead, Gary Panter, and more . . .
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On this episode of Transmissions, Darren Jessee joins us for a freewheeling talk about influences, lyrics, creative process, and his time on the road with Ben Folds Five. We discuss a wide range of artists—Tom Waits, Joni Mitchell, Judee Sill, Gordon Lightfoot, and spend a lot of time reflecting on Neil Young, who Ben Folds Five toured with in the 1990s. Along the way, we inspect the notion of how songs change and shape our views, the tenor of the culture wars back in the ‘90s, and the value of occasionally overdoing it . . .
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The Band certainly went through the ringer — alcoholism, drug addiction, shady business dealings, mental health woes, etc. — but when they stepped onstage together, that all disappeared. Check ‘em out on this audience tape from way back in 1971, entertaining the throngs in Central Park on a warm summer night. The Band weren’t jammers; they generally stuck pretty close to the script in a live setting. But the songs have an added warmth, those irreplaceable/irrepressible voices blending magically with deceptively complicated arrangements. There’s a sense of support amongst the quintet that you don’t hear in many other . . .
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Early on Rosali Middleman’s Variable Happiness comes a moment that absorbs your entire life. A downward cascade of notes that draw you in and refuse to let go until they only exist as a fragmented toll in the ears. This new LP comes under the alias Edsel Axle (hereafter which Middleman is referred in the spirit of the proceedings) and features no one other than the artist on electric guitar and a combo amp . . .
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Anohni has been making transcendent, unearthly music for more than two decades now. Her latest album, My Back Was a Bridge for You to Cross, is perhaps her best yet, mining a rich vein of classic soul to deliver impassioned lyrics about love, gender identity, intergenerational connection, and the climate crisis. She joins us to discuss resilience, soul, and the role of an artist in our damaged culture . . .
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Our pilot episode introduces the concept of the podcast and takes a close look at Sunburned’s iconic album, Headdress. We hear about the origins and goals of the podcast—grappling with the complexities of Sunburned’s chaotic narrative. Music journalist Allison Hussey joins us to provide an outsider’s perspective of the band. Byron Coley describes Sunburned’s impact on the wider music scene. Then we focus on one song in an attempt to discern a bit of what Sunburned does when they jam. Finally, we turn to Sunburned’s iconic 2002 release, Headdress, and that album’s recent . . .
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With The Path, Belbury Poly mastermind Jim Jupp (co-founder of Ghost Box) creates a vivid and faerie haunted-world, combining funk rhythms, krautrock repetition, prog grooves, and library music into a bewitching radiophonic swirl. While Belbury Poly began as a true solo project, here Jupp is joined by a cast of collaborators, including bassist/guitarist Christopher Budd, drummer Max Saidi, and Jesse Chandler (Pneumatic Tubes) on flute, clarinet, and keyboards, and author and poet Justin Hopper, who adds quixotic and evocative narration to the record . . .
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