A mere spelling error gave Giovanni Tommaso's 1970 solo debut Indefinitive Atmosphere its distinct title, but the Italian bassist is responsible for its groovy slices of spunky fusion, jazz rock, and out there vibrations . . .
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Like its predecessor, this 16-song collection was compiled by garage rocker and record-maker Mikey Young (he’s played in Total Control, Eddy Suppression Ring, the Green Child, the Ooga Boogas and others, and mastered more hard-rocking down-under discs than you can shake a stick at) and Keith Abrahamsson (the founder and head of A&R at Anthology Recordings). Together the two have combed through dusty crates and piles of singles, finding long-neglected gems among collections bound for second-hand shops . . .
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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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Steve Gunn and John Truscinski have been making improvised music together for a decade and a half and five albums, exploring the fiery conjunctions between experimental drone and rock and roll. Their Soundkeeper, from 2020, was a revelation in the way it channeled explosive rock energy into free-ranging instrumental inquiry. Now, the duo adds a third in Bill Nace, the Body/Head collaborator they first worked alongside on a Kim Gordon-fronted project to accompany Andy Warhol’s film Kiss. The expansion makes a fundamental difference, anchoring this often incendiary guitar and percussion experiment in an endless serene now . . .
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Though Gia Margaret's 2018 debut, There’s Always Glimmer, was the striking work of a singer/songwriter, when medical issues put a strain on her voice, she turned to instrumental music, first with her ambient leaning self-titled 2020 album, and now Romantic Piano, a collection of moving piano compositions, mostly instrumental, that feels at once meditative and comforting. It’s the kind of music that carves out more space for the listener—and it turns out, it’s the kind of music that did something similar for its creator . . .
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Brooklyn's Emergency Group emerged earlier in 2023 with Inspection of Cruelty, a radical cassette on Island House Recordings. Blending electric Miles adventurism with kraut-y psychedelia, it was an auspicious debut — and its two extended tracks left you hungry for more. Fortunately, the quintet is already in the planning stages for a second LP, this one in collaboration with Psychic Temple / Big Ego mastermind Chris Schlarb. While we wait for the fruits of those sessions, dig Emergency Group's first Lagniappe Session — it's a doozy . . .
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The seemingly sole disc from a group called Country Spice emerged in 1975 via the short-lived, Milford, Iowa-based Sonic Records and a recent, low-key, digital reissue from Numero Group has newly illuminated this country-rock / psych-pop gem. The ever-reliable B-side is preciously strange – a female voice takes over for a big sky, Mac-inflected cosmopolitan pop, its rural sound upended by baroque harpsichord passages and lyrical, gothic chimera . . .
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The early part of 1970 has always been something of a black hole for Zappa fans. Session contracts suggested he was working, but on what exactly? Finally, with the release of Funky Nothingness, we get a look into this period. It’s not revelatory in the same way The Hot Rats Session box was, but it doesn’t feel like it’s supposed to be either. Instead it’s a peek into the studio and a look at Zappa’s music in transition, slowly moving from the jazz-rock of Hot Rats and into the harder jamming of his mid . . .
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On Leaving, a hushed masterstroke of chamber folk and scorched indie-rock, the Chicago-based artist tackles heavy, existential concerns—grief, isolation, heartbreak, the simple act of existing on a world that seems less habitable with each passing day—but plays on with quiet aplomb . . .
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Signals coming from somewhere beyond. It's time for Radio Free Aquarium Drunkard. This month, resident DJ Chad DePasquale opens up with New Happy Gathering, an hour of atmospheric samba, dusty psych-folk, and sinewy funk. Next, Jason Woodbury’s Range and Basin dedicates a whole show to Bill Frisell's incredible "Egg Radio," spanning live takes, covers, studio work and beyond. Then, Doom and Gloom from the Tomb with Tyler Wilcox shares an hour's worth of bittersweet 2023 sounds. And to close, musician and writer Jeffrey Silverstein invites you to join him for an hour of slinky country . . .
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In 2007 WFMU's Beware of the Blog shared a raucous collection of "the racket made by a fuzztone guitar" entitled Country Fuzz Spectacular. They followed it up in 2011 with a second offering, both expertly curated. Along with (the equally great compilation) God Less America, the two volumes soundtracked a good many days and nights around the AD hq. It's now 2023 and we recently rediscovered the set via an ancient hard drive. Hallelujah. For those who missed out in the '00s, we're sharing both volumes here via a zipped folder . . .
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Embrace the choogle. As far as summer jammers go, Sean Thompson's 'Weird Ears' LP from last August continues to pay dividends as it slides from country to cosmic in the blink of an eye. Presently woodshedding material for his next full-length, we caught up with Thompson and co. from his Nashville home, cutting four tracks for his inaugural Lagniappe Session. Come for the Funkadelic cover, stay for the Kernal . . .
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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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Two new tracks arrive from cosmic country crooners Tobacco City just in time for a dumb, weird American summer. A-side “America” finds Chris Coleslaw and Lexi Goddard inebriated in hymn to our national idiocracy and the existential paradox of its existence . . .
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Marc Ribot is one of the most intriguing and dynamic guitarists in music. But when he wants to cut loose, he unites his punk-informed trio Ceramic Dog. Ahead of the charging Connection, Ribot joins us today on Transmissions to discuss musician labor rights, Hal Willner's Night Music and more . . .
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