Sean Thompson’s Weird Ears :: Inner Principles

Sean Thompson's Weird EarsPosted on

Across Nashville sessions, kosmische excursions, and off-center country-rock detours, Sean Thompson has quietly become one of the city’s most versatile guitarists. On the new Weird Ears instrumental LP Inner Principles, he pulls those threads into a fluid, atmospheric set that moves between ECM-style spaciousness, late-night boogie, and warmly exploratory ensemble interplay . . .

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Boris with Michio Kurihara :: Rainbow 2

Boris Michio KuriharaPosted on

Originally released in 2006, Rainbow remains one of Boris’ most transportive recordings: heavy but unforced, suspended somewhere between slow-motion psychedelia and late-night amplifier glow. Nearly twenty years later, the newly released Rainbow 2 extends the world of the original with two side-long pieces drawn from the long out-of-print Rainbow box set, pushing further into spacious drone, low-end pulse, and hazy dual guitar interplay . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35)

SIRIUSPosted on

Sodium-vapor dusk. 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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Stolen Moments From A Life Well-Lived :: Sonny Rollins, 1930-2026

Jazz Sonny RollinsPosted on

From Birdland broadcasts and bridge-side practice sessions to late-night television, Leonard Cohen collaborations, and a final summit meeting with Ornette Coleman, Sonny Rollins spent nearly seven decades treating improvisation as a form of spiritual inquiry. In the wake of his passing at 95, we revisit a handful of essential films, broadcasts, and performances that capture the humor, velocity, deep concentration, and eternal forward motion of a musician who never stopped searching for the unknown . . .

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The Beach Boys at Big Sur Folk Festival (1970)

The Beach BoysPosted on

On the heels of the majestic Sunflower and a carefully managed image rehabilitation campaign, The Beach Boys’ appearance at 1970’s Big Sur Folk Festival was a calculated effort to align themselves with the counterculture. Sans Dennis Wilson, off filming Two-Lane Blacktop, California’s native sons delivered an excellent set drawn largely from Pet Sounds onward — a quiet corrective to their infamous withdrawal from 1967’s Monterey Pop Festival. Despite years of archival excavations from the band’s vaults, the performance remains officially unreleased . . .

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All One Song :: Zachary Cale on “Ambulance Blues”

All One Song Neil Young PodcastPosted on

We have got a doozy of a Neil Young song to talk about today — “⁠Ambulance Blues⁠." First appearing as the closing track on Neil’s 1974 masterpiece On the Beach, this is one of the man’s major works, a long, dark dirge that surveys the surreal mid-1970s landscape, from Patty Hearst to Richard Nixon, all accompanied by a brilliantly skeletal musical backdrop. Here to help us decode the mysteries and metaphors of “Ambulance Blues” today is NYC-based singer-songwriter ⁠Zachary Cale . . .

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Pink Floyd :: Live in Saint Tropez, France 1970

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Shot for French television in Saint-Tropez during the summer of 1970, this broadcast captures Pink Floyd before the lore and iconography fully set in: no inflatable pigs, no circular screens, no stadium-scale spectacle, just four guys on a small stage dragging enormous sound through the Riviera night . . .

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Basic / Chris Forsyth’s WHAT IS NOW :: Both/And

BASIC Chris ForsythPosted on

For the past two decades, Chris Forsyth has quietly built one of the most distinctive catalogs in contemporary underground music, balancing technical precision with deep feel, repetition, and exploratory instinct. On two new releases — Basic’s self-titled LP with Douglas McCombs and Mikel Patrick Avery, and the sprawling improvisational debut from WHAT IS NOW — Forsyth stretches outward in different directions, moving from hypnotic groove and motorik interplay to thornier, open-ended collective improvisation that rewards patience, curiosity, and total immersion . . .

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Magic Tuber Stringband :: Heavy Water

Magic Tuber StringbandPosted on

Set against the poisoned beauty of South Carolina’s Savannah River watershed, Heavy Water finds Magic Tuber Stringband threading old-time Appalachian forms through drone, field recordings, ecological ruin and Southern psychic residue. Inspired by Courtney Werner’s research into radioactive birdlife near the abandoned nuclear zone of “Atomic City,” the trio’s ninth full-length moves between haunted fiddle laments, free-form string dissonance and environmental unease . . .

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Lifetones :: For A Reason

Lifetones This HeatPosted on

Outside. South London, early 1983. On For a Reason, Charles Bullen and Julius Cornelius Samuel pull away from the tightly wound scaffolding of This Heat into something slower, heavier, and more open-ended. Basslines circulate, rhythms drift, and dub space begins to overtake the frame. Forty years later, the record still feels uncannily present after dark . . .

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Antoine Dougbé et L’Orchestre Poly-Rythmo De Cotonou 1977-1982

Antoine DougbéPosted on

Benin-born songwriter Antoine Dougbé fused Cuban rumba, son, Congolese guitar music, and Vodún ceremonial rhythms into a singular strain of trance-inducing West African funk. Backed by the mighty Orchestre Poly-Rythmo de Cotonou, the late ’70s and early ’80s recordings collected by Analog Africa move with hypnotic force: phased guitars, rolling percussion, wiry synth lines, and call-and-response vocals locked deep inside ecstatic grooves . . .

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Juni Habel :: Evergreen In Your Mind

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Norwegian songwriter Juni Habel drifts through haunted folk terrain on Evergreen In Your Mind, her third album and perhaps her most transportive yet. Built from trembling vocals, sparse guitar, room tone, and gently destabilized atmospherics, the record moves with a hushed intensity — intimate songs suspended somewhere between pastoral melancholy and dream-state solitude. Evoking the stark emotional clarity of Sybille Baier and the fragile chamber-folk textures of Department of Eagles, Habel creates music that lingers like fog rolling in off a dark coastline . . .

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Ed Askew :: For The World

Ed AskewPosted on

Jerry David DeCicca looks back on the making of Ed Askew’s 2013 late-period masterpiece For the World — a record assembled through borrowed rooms, broke musicians, chance encounters, and the quiet force of Askew’s songs themselves. What began in a sweltering West Harlem warehouse with Jay Pluck, Tyler Evans, and engineer Keith Hanlon gradually expanded through contributions from Mary Lattimore, Sharon Van Etten, and Marc Ribot, all orbiting Askew’s singular presence. DeCicca’s recollection captures an artist who had moved far beyond the “psych-folk” tag attached to his ESP-Disk years . . .

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Jeff Parker ETA IVtet :: Happy Today

Jazz Jeff ParkerPosted on

If The Way Out of Easy marked the emergence of the ETA IVtet as an entity separate from the site of the band's origins, Happy Today serves as another milestone: It's the first ETA IVtet record taped somewhere other than Enfield Tennis Academy. Capturing a 2025 set at the much-larger Lodge Room, the third album from guitarist Jeff Parker, saxophonist Josh Johnson, bassist Anna Butterss and drummer Jay Bellerose shows a band with more room to move and more space to listen. Over two meditative, grooving and restless long improvisations, Parker and the ETA IVtet hone their . . .

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Stix Hooper :: The Aquarium Drunkard Interview

Jazz Stix Hooper The AD Interview The CrusadersPosted on

As a member of The Crusaders, drummer Nesbert "Stix" Hooper's life in music is a testament to the power of the groove. With his rhythms at the foundation, the band blended R&B, jazz, rock, funk, and eventually fusion, and his playing would go onto provide crucial samples for beats utilized by artists like J Dilla, Madlib, Three Six Mafia, and many more, making him, according to his label, "arguably the most sampled drummer of all-time." He joins Aquarium Drunkard to discuss his new album and storied history—and one necessary ingredient that should be in every pot . . .

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Posted on Jazz Stix Hooper The AD Interview The Crusaders