If you’ve been listening to Transmissions for a while, you've noticed how often host Jason P. Woodbury brings up “time” when talking about music. And while he's certainly apt to talk about music in spiritual or "out there" terms, songs are in some ways literal time machines: they can take you back to your own past or in the case of traditional music, preserve some essential “nowness” of the human experience. Songsmith Jake Xerxes Fussell grew up understanding this intimately. As the son of folklorist, photographer, and artist Fred C. Fussell, he spent time on the road with his father, documenting the sound and feel of blues singers, indigenous fiddlers, and performers whose songbooks reached back generations. 

The younger Fussell carries on curatorial work through his records, applying his alternately smooth and grainy voice to traditional vernacular ballads. His latest collection is called When I’m Called. Produced by James Elkington, it finds the Durham-based songwriter joined by a cast of collaborators including Blake Mills, Joan Shelley, and Joe Westerlund of Bon Iver. Though it's comprised of traditional blues and folk, as is Fussell’s trademark, it isn’t a work of historicity so much as a document of how songs live; how they can be preserved, and how they can find new life. 

In this conversation, Fussell explains, and touches on The Beastie Boys and his time with one of our documentary heroes, Les Blank.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

This week on Transmissions, we're sitting down with a genuine legend: Joe Boyd, author of And The Roots of Rhythm Remain: A Journey Through Global Music, out September 24 from ZE Books. On the front cover of the book Brian Eno—a venerated saint in the Aquarium Drunkard canon—declares: “I doubt I’ll ever read a better account of the history and sociology of popular music than this one.” 

Joe Boyd’s career is the stuff of myth. As a producer, he’s worked with a murder’s row of collaborators, including Pink Floyd, Nick Drake, Fairport Convention, R.E.M., Richard and Linda Thompson, Incredible String Band, Vashti Bunyan, 10,00 Maniacs, and many more.

In 2006, Boyd released a memoir, White Bicycles – Making Music in the 1960s, which documented his time in the studio during that decade, but And the Roots of Rhythm Remain casts an even wider net, exploring the overlap of musical cultures and the complicated, human negotiations that undergird creative synthesis. 

As you’ll hear in the early part of our talk, Joe played a pivotal role Transmissions host Jason P. Woodbury's music writing journey. In 2008, Woodbury reviewed a Nick Drake box set for the sorely missed Tiny Mix Tapes. The piece also included an email interview with Boyd, whose responses were insightful and in-depth—an experience that inspired Woodbury to chase after interviews. So this conversation picks up the thread some decade and a half later, detailing not only Boyd's new book, but also his experiences with Nick Drake, Fairport Convention, Richard Thompson, Sandy Denny, Vashti Bunyan, and many more adventures.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

This week on Transmissions, the return of Leah Toth, aka Amelia Courthouse. She was last here on the podcast in its earlier, more feral incarnation—and by feral we mean "updated with elss regularity"—but back in 2018 she reviewed Shinya Fukumori Trio’s incredible ECM release For 2 Akis. We've wanted to have Leah back on ever since, and this now we've got a great excuse to do so: the release of her incredible new album under the Amelia Courthouse name, broken things. Blending Protestant solemnity with dream pop bliss with extended, meditative ambient music and skeletal folk, she’s created a work of gentle and imperfect holiness.

In her return Transmission, Toth dicusses making gorgeous music with imperfect equipment, rescuing old songs from the archives of her husband and collaborator James Toth aka Wooden Wand, the sound worlds of David Lynch, and the experience of communal worship singing.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

From early mystic folk inclinations to more fried and psychedelic work, Ben Chasny's Six Organs of Admittance project has never settled into an easy, definable zone. But 2024 sees the Six Organs sonic universe expanding kaleidoscopically, even by Chasny's prodigious standards.

First was Time Is Glass, an album that documented his return to Humboldt County; then Jinxed By Being, a collaboration with ambient dub master Shackleton, and on September 27th, Companion Rises (Twig Harper Remix), which finds Chasny's 2022 album Companion Rises completely reimagined and re-created by sound artist Twig Harper. The results are unlike anything you've ever heard in the Six Organs catalog—though it's all part of the design, Chasny says.

For this return visit to Transmissions, Chasny joins host Jason P. Woodbury to discuss his trio of 2024 releases, his experiences playing with David Tibet's apocalyptic avant-garde collective Current 93, his vision for the DIY recording zine Head Voice, the sounds of spiritualism, and cultivating online community through the Six Organs Patreon.

Plus: Animator Mark Neeley drops in for a quick chat about Pure Animation for Now People, his new minute-long, hand drawn collaboration with Mark Mothersbaugh of Devo.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Welcome back to Transmissions, our weekly conversational offering. On today's show? Nashville’s own Rich Ruth. 

Opening his review of Ruth’s latest, the Third Man Records LP Water Still Flows, Aquarium Drunkard’s Brent Sirota states: “We don’t even have a name for what has been going on in instrumental music lately. There’s plainly some kind of new fusion afoot…[but] it doesn’t really sound like old-school fusion. There’s electrified jazz there, to be sure, but now it sits alongside krautrock, kosmische, psychedelia, minimalism, and ambient.” 

Like many, Ruth began making meditative music during the pandemic, resulting in his tremendous 2022 record, I Survived, It’s Over. But with Water Still Flows, Ruth embraces grandiose riffs alongside his placid total soundscapes. The result is a record that feels heavy, while still possessing the calming center that defined earlier work. Sirota cites groups like Dirty Three and Godspeed! You Black Emperor, outfits given to transcendent abandon, and he’s right on the money. 

We caught up with Rich and discuss. Our conversation takes more than a few interesting turns—who ever thought we'd end up discussing Creed, and yet here we are—but one thing’s for sure: the freedom Rich Ruth and his collaborators exhibit is contagious—as is his charm.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

This week, we have an exceedingly rare interview with Jason Martin, of California dream pop band Starflyer 59. Fermented in the nascent Riverside dream pop underground alongside his brother Ronnie Martin of Joy Electric in the early '90s, Martin's band SF59 released its debut album, Silver, 30 years ago in 1994 on the fledgling Tooth & Nail label. His latest, Lust for Gold, finds him winking knowingly at the title of his 1995 album Gold, a record routinely cited as one of the best shoegaze albums of all-time.

Incorporating elements of the band’s feedback-drenched early sound, the new album finds the years catching up with a guy who has been singing about being old since he was in his early 20s. From the band’s monochromatic album covers to Martin’s notoriously sparse interviews—check out the one we did at Aquarium Drunkard for an example—he’s always preferred to let the music do the talking. 

But this talk finds him settling in for a longform chat about his history, his songwriting practice, how familial connections bind his musical projects, and much, much more. Joined by guest co-host/interlocuteur Andrew Horton, this conversation is the most revealing interview to date with Jason Martin of Starflyer 59.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

This week on Transmissions, return guest Yasmin Williams. On October 4th, she releases Acadia via Nonesuch Records. It's her long awaited follow up to 2021's Urban Driftwood, and like that record, it's beautiful—a showcase for a one-of-a-kind artist. And while the focus remains Williams' fluid and lyrical guitarwork, she's joined by a roster of ringers to help fill out the corners: Aoife O'Donovan, Dom Flemons, Kaki King, William Tyler, and Darklingside and Rich Ruth, whose vocal and synthesizer contributions can be heard on the recently released first single, "Virga."

Williams first came back on the show way back in the lockdown days, but life has changed greatly for her since then. She discusses some of those changes, and opens up about her desire to create with Acadia something of a refuge from the chaos of the world. Even though the record finds her joined by an expanded cast, it feels even more personal. In carving out enough space for herself, Williams has opened more than enough for the listener too. Ahead of her fall tour dates with Brittany Howard and Michael Kiwanuka and an appearance at London's Pitchfork Music Fest in November, Williams joins host Jason P. Woodbury for a rousing conversation.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Sometimes, background music moves to the foreground. That’s the case with today’s guests, guitarist Zac Sokolow, bassist Jake Faulkner, and drummer Nicholas Baker. Together, they form LA LOM, short for the Los Angeles League of Musicians. In 2019, they were hired to bring suitably vibey music to the lobby of the historic Roosevelt Hotel on Hollywood Boulevard. Employing a rotating cast of guest players, they filled the air with twangy cumbias, boleros, chicha, and reverberating Bakersfield-style twang. Eventually people began taking notice, as vivid performances clips began to go viral. 

On this week’s all new episode of Transmissions, the trio joins us to discuss their self-titled debut album. Though La Lom first came to prominence for its covers, the new outing presents all original material, which ranges from Latin shuffles to cinematic noir soundscapes and soulful ballads. Released by legendary jazz label Verve, it represents the start of a new chapter for La Lom. Fresh off the road from opening for Vampire Weekend, Zac, Jake, and Nicholas join us for a conversation about the music past and present, the allure of late night radio, covering Selena, and so much more.

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Head to Aquarium Drunkard and subscribe, where you can also read an abridged and edited transcript of this conversation. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Welcome back to Aquarium Drunkard Transmissions, our weekly conversation podcast. This week on the show, we’re joined by Brian and Michael D’Addario, AKA, The Lemon Digs.

Their latest slice of toothsome guitar pop is called A Dream Is All We Know. Writing about it in our mid-year favorite albums of 2024 (so far) list, we noted: “A dash of Badfinger, lots of Beach Boys, Todd Rundgren, and Sparks and you’re on the track. As always, The Lemon Twigs come arms full of records you can compare their work to, but what makes Brian and Michael D’Addario’s latest shine is its emotionality and hard-earned optimism, all of which lends resonance to the jangle and charm.”

Rumbling out of Long Island, the Lemon Twigs were just as sharp, funny, and quick as I expected them to be. We got into all sorts of stuff, exploring their relationship with their mentor, Jonathan Rado of Foxygen, their collaborations and run-ins with the great Todd Rundgren and Sean Lennon, and unpack how their undeniable songs actually get written. 

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Head to Aquarium Drunkard and subscribe, where you can also read an abridged and edited transcript of this conversation. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

This week on a far-ranging episode of Transmissions: guitarist, folklorist, and all-around-top-notch thinker Daniel Bachman. 

A songwriter and composer from Fredericksburg, Virginia, Bachman first began releasing records under the name Sacred Harp, before adopting his own name for a series of finger-picked classics like 2012's Seven Pines and 2015’s River, which Aquarium Drunkard’s Tyler Wilcox called “a solo acoustic tour de force that can easily stand proud next to John Fahey’s Days America or Jack Rose’s Kensington Blues. It’s that good.” 

In the years since, Bachman’s music has grown more and more experimental, and also, it’s become more directly informed by climate change. His latest, for the fine folks at Longform Edition, who’ve appeared on this very podcast, is called Quaker Run Wildfire (10​/​24​/​23​–​11​/​17​/​23) for Fiddle and Guitar. A 25-minute piece of drone, guitar, fiddle, and field recordings, it was inspired and directly confronts the devastating wildfire that tore through the Middle Appalachians. “How additional global heating at the cost of extractive industry will impact future climate breakdown in the region remains unknown. One thing however is certain… a new fire regime has arrived,” Bachman writes. 

Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you’ll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Head to Aquarium Drunkard and subscribe, where you can also read an abridged and edited transcript of this conversation. Subscribe at Aquarium Drunkard. 

Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard