The hymn of images is difficult to convey. Daughn Gibson has returned. His first new music in six years. We caught up with him to talk about his new EP, Kriminelle Energie. What was difficult now seems easy. He sings for us. Stay tuned . . .
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Color Green is the eponymous debut LP from the Los Angeles, via Queens, duo of Corey Madden and Noah Kohll. Released via AD and Org Music, it's an eight track collection of riffing grooves, satisfying harmonies, and skillful micro-jamming . . .
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As Fantasma do Cerrado, Rafael Stan Molina creates sound mosaics that oscillate between pop song forms and exploratory ambient recordings. Nowhere is this dialectic more explicit than in “Catanduva”, where suave folk is suddenly broken by an explosion of strange shapes, and simple melodies alternate with wild and sparse modulations reminiscent of the the unexpected turns of Jim O'Rourke's compositions . . .
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The funk is its own reward. 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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We’ve found ourselves delving deep into the Habibi Funk series of late and Ahmed Malek’s absolute smoker “Autopsie d'un Complot,” from Habibi Funk 003: Musique Originale De Films, is the most recent to go on repeat. Kicking off with wavy sunshine-psych guitar and giving way to a deeply mischievous bassline and glistening synths, the track stays deep in the pocket for three-and-a-half-minutes of lean, sweltering funk . . .
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Dummy, out of Los Angeles, embodies irresolvable contradiction, managing like Schrodinger’s Band to play pogo-happy punk rock songs that are also kosmiche “Astronomy Domini”-esque LSD dreams. It’s not that they alternate between these two things, but manage to be both at once. That bifurcation was noted in our 2021 Year in Review, saying that “Dummy may look like a scrappy, punch-drunk Stereolab or a blissed out, mantra-hypnotized Wire, depending on which way you squint at them, but they’re wonderful either way . . .
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Alex Izenberg resurfaced this past May with the release of his third full-length, I'm Not Here. Introspective and impressionistic, it's an album that defies easy categorization. This is both a testament to Izenberg's idiosyncratic pop-craft, and the sonic palette set forth by producer Greg Hartunian, with an assist from Dirty Projectors' Dave Longstreth. For this, his second Lagniappe Session, the singer-songwriter reflects on the nature of impermanence via a cover of Jim Croce's 1972 hit single, "Time In A Bottle". Fast-forward to present day and we find Izenberg paying tribute to Fleet . . .
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With Final Thaw, their debut as Iceberg , guitarist John Kolodij, drummer Jayson Gerycz (Cloud Nothings), and saxophonist Dylan Baldi (Cloud Nothings) engage in a meditative swells of free music that eventually crescendo into ecstatic abandon. We're sharing the video for "Harland Wolff Blues," in which the trio tap into frenzied and deep zones, conjuring up free music that shares a spirit with the rollicking indie rock Gerycz and Baldi are known for . . .
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Our guest this week on the show is Mitch Horowitz. Perhaps you’ve heard the occult scholar and author on Coast to Coast AM or The Duncan Trussell Family Hour or perhaps you’ve heard him right here on Transmissions. With the occasion of his new book, Daydream Believer: Unlocking the Ultimate Power of your Mind, out this week, we invited Mitch back to the show for another fascinating and wind ranging conversation about mind causation, ESP, the paranormal, and music . . .
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Unlike Bitches Brew’s monolithic density that, at times, obscured the band, it was Mwandishi’s individual players who got the machine up and running. If one part of the equation were to be removed, the entire unit would collapse. It was one of music’s most successful experiments in Group Dynamics and set the tone in jazz for a decade. Here, we have assembled these players at the height of their creative powers in the early seventies. All are accompanied by at least one of their Mwandishi compatriots, and most feature much of the ensemble. The breadth of this . . .
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The message is crystal clear: The Pyramids intended to create Liberation Music wholly inspired in the origins of African art...don't expect your grandmother's Spiritual Jazz . . .
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A near vocal-less affair, the 20-track double-album combines threads of both the Berlin and Düsseldorf schools, with most recordings laid down between the late ‘70s through the ‘80s. Each track contains constantly refining repetitious rhythms, often from a sequencer, with snaking, silvery synths and guitars overtop, each run through a series of effects that alternate between hijacking and complementing melodic impulses . . .
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At a quick glance, Penza Penza might seem like a lost 70s Zamrock situation, and perhaps that’s exactly as Misha Panfilov would have it. The Estonian composer and multi-instrumentalist has proven tireless over the past few years—we took his 2021 earthy jazz masterpiece, Days as Echoes, recorded with the Misha Panfilov Sound Combo, for several spins around the orbit and have since savored his recordings with Gloria Ann Taylor, various one-offs and collaborations, as well as his forthcoming score for the animated film Sierra, the tastes from which have been a symphony of synth fantasias . . .
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Blue Sunshine is one of the rare 1970s films you may find filed underneath "Horror" or "Cult" or "Exploitation" that has no nudity, just a few drops of blood, and PG-rated language. It's an odd feat for a low-budget film based around homicidal maniacs killing people because of unregulated drug use. But Blue Sunshine's horror doesn't stem from gore and carnage as much as an undercurrent of paranoid psychosis, a reflection of the time it was released . . .
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At this point in her career, we would probably settle for a “pretty good” album from Joan Shelley. But no, The Spur continues an unbroken streak of masterpieces for the Louisville-based artist. It’s a record that features some of Shelley’s very best songwriting, bolstered by sensitive and occasionally surprising arrangements, ravishingly lush at some points, spare and spectral at others. The Spur is a wonder, from start to finish . . .
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