The Wire

She was not that popular, but kind of known in that sphere.

I think she got written up in The Wire and Boom Cat

wrote up her shit.

Makes sense.

Right.

So we'd just been on the cover of The Wire And everything, you know, we felt like the world of experiment, slightly experimental pop music was going a bit, you know, coming back round to pram.

We were playing Klangbad Festival, like Jochen Hans Urmler's festival out of Faust's festival in Germany.

So we were doing a lot of that.

Oops, where have you gone? My first one, then, is an album called On Patrol by Sun Arrow, which is spelled A-R-A-W.

And in 2009, I got the album Heavy Deeds by Sun Arrow, probably from reading a review in The Wire.

But it's such a great album.

When 2010 rolled along and a new record came out called On Patrol, I went and bought that.

these bands that use

things like that it's kind of more for just to say they use shells and you know does it really add anything to possibly to anything can you hear it what what what does a fucking shell what does it sound like how would you know oh i'll be i'll play this one on the shelves oh fuck off no you didn't yeah you know you've got some you've got some gravel that's

One of the things that used to really kind of annoy me with a lot of the writing of bands in The Wire, because The Wire, you know, I read it, I like it, it's got some good stuff in it, but it can be quite pretentious and there'd be often records in there and there'd be fulsome descriptions of the fact that they have recorded crickets in a cave in Siberia.

or something and and you listen to it you think you might well have done it just sounds like any shit that i've ever done by pressing one key on a synthesizer yeah

Emil has made over 50 records across 25 years in the underground on various esteemed labels such as Thrill Jockey, Drag City, and Temporary Residence.

His podcast, Drifter Sympathy, is now finishing its seventh season and has been widely praised from outlets from NPR to Wire Magazine.

He has written pieces for Dangerous Minds, record reviews for Ugly Things and Cream Magazine, and is currently working on a book of essays, and it gives me great pleasure to welcome to Revolutions Per Movie, Emil Amos.

Hi, Emil.

[laughs] How's it going?

Um, I think he had his own kinda biases, but I'm also...

I, I do have some perspective, I think, on kind of Wire magazine musicians kinda coming along and in a way Kind of congratulating a lot of this stuff when actually it wasn't really written for them.

Uh-

And, and what's the, what's the other one as well? 'Cause this one-

Oh, yeah, back in, back in the game, are they?

Um, still wearing their socialist politics on their sleeve.

[laughs] But, well, a- and I think there's also, there's a wee bit of a connection as well with, with Keenan, 'cause apparently, um, when he did, when, when David Keenan did that book, and in true Wire magazine style, I would say, he, he did a sterling piece of work, and then he had to revisit it because he'd, he'd dropped the ball on a number of occasions-

Yeah