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John Andrews & The Yawns :: STREETSWEEPER

John AndrewsPosted on

On his fifth solo record with backing collective the Yawns, the ever-talented John Andrews channels a number of personal and regional anecdotal experiences within the mellow dazzle of STREETSWEEPER. From hockey to a part time gig working for the NYC Parks Department, the imagery of the record jumps off the screen like one of the artist's painterly animated works. With a bevy of talent including Luke Temple, Star Moles and the Cut Worms rhythm section, it's a bright and optimistic accomplishment with a signature, natural DIY spirit . . .

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Videodrome :: Rolling Thunder (1977)

VideodromePosted on

Rolling Thunder (1977) is perhaps the most salient example of “revengeamatic” films: a grindhouse-style subgenre of revenge films characterized by a protagonist’s methodical quest for payback against those who wronged them. These films are defined by a clear path of cause and effect: an act of brutality sets the process in motion, the protagonist activates the cycle of vengeance, and the plot advances inexorably toward a climactic act of redemption. Films such as Rolling Thunder distill these elements to their most essential function, automating the story into a lean, mean, genre machine . . .

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Luka Kuplowsky :: The Grass Grows, Antonych Grows

Luka KuplowskyPosted on

In his book The Life of Plants, philosopher Emanuele Coccia writes that plants are a kind of cosmic point of tension that binds us all, because they are the sculptors of our very breath. In his new record The Grass Grows, Antonych Grows, Luka Kuplowsky embodies a similar idea to adapt works by Ukrainian poet-mystic Bohdan Ihor Antonych—often written from the perspective of a bug or a flower—into heterogeneous indie jazz soundscapes that can mirror, in their latent sentimentalism, our current climate catastrophe . . .

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Belle and Sebastian :: If You’re Feeling Sinister at 30

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Bookish and wry, beautifully but mutedly arranged for guitar and piano, Belle and Sebastian’s second full-length was out of step with a music industry just recovering from grunge. It came from a group of people who shunned the publicity cycle, doing no interviews, releasing no singles and shunning TV and radio appearances. It came out late in 1996 on the small Jeepster label and very slowly built a following . . .

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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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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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The Inward Map: David Sylvian’s Solo Trilogy, 1984–1987

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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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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 Neil Young 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 Neil Young 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