Rose City Band :: The AD Interview

Ripley Johnson has carved out a niche in psychedelic drone and motorik repetition, helming Wooden Shjips, the long-running experiment in lysergic primitivism, and Moon Duo, likewise mind-expanding but slanted towards electronics. But a lifelong affection for classic rock and country and a newly reawakened appreciation for the seasons led him recently to form the new Rose City Band. A mostly solo endeavor despite the name, Rose City Band’s sophomore lp, Summerlong, employs lap steel and mandolin as well as the usual rock band instruments to create a warm, buoyant, sunny Saturday morning vibe.

Bill Nace :: The Aquarium Drunkard Interview

In May, Nace releases his first full-length studio album of solo material in Both, a riveting collection of long fractured drones, altered tones and insistent, nearly subliminal rhythms. Yet even though he’s the only player on the disc, the new record is still a collaboration. Bitchin Bajas’ Cooper Crain mixed and produced these tracks, playing an integral role in the way the finished product sounds.

Catching Up With Avey Tare

As the world seemingly draws to a stop, Portner finds himself quarantined at home in Western North Carolina amidst work on Animal Collective’s eleventh studio album, the first album since 2012 to feature all four original band members.

Caleb Landry Jones :: The Aquarium Drunkard Interview

The Mother Stone is a collection of fifteen tracks entirely out of step with whatever modern trends are currently gripping independent music. It feels peerless, out of time, from a different dimension. It isn’t a record you can play quietly in the background as you respond to emails. It requires headphones. Focus. Attention. Which isn’t to say it isn’t any fun. Because it is.

Markus Floats :: The Aquarium Drunkard Interview

On his new lp Third Album, Montreal’s Markus Floats rewards deep listens with emotive electronic melodies, granular textures, and mesmerizing arpeggios. It’s the culmination of Markus’s work so far, but like the hyper-prolific artists he cites as influences—Prince and Fennesz—also just one drop in his deep pool.

M. Ward :: The AD Interview

M. Ward’s sprawling and reflective tenth studio album, Migration Stories, bears its influence with mid-19th century migration folklore and Pax Americana folk, sung to the rustic hum of heavy guitar strings and vintage Americana. We caught up with Ward amidst our own cross-coastal quarantines to talk Migration Stories, bloodlines, the magic of first-takes, recurring earthquake dreams, and the insanity of modern times.

Haley Fohr :: The Aquarium Drunkard Interview

Haley Fohr is feeling the collapse. “I have this character I’ve created that has yet to get out of the internet,” she observes glumly from her quarantined apartment in Chicago. “She’s stuck inside of the internet.” She’s referring to Jackie Lynn, her country-glam outlaw alter ego. Keeping a hyper-femme, truck driving drug kingpin like Jackie Lynn locked behind a screen is like storing an exotic animal in a dank basement: its unbounded soul decays with each passing day void of any primeval thrill. “But we’re going forward with the campaign,” she continues. “We’re excited to release this [album].”

Jon Hassell :: The Aquarium Drunkard Interview

Vernal Equinox introduced a new form of music, which Hassell and others who followed him called “fourth world,” a mix of classical Indian music, electronics, jazz, field recordings and ambient music.

More than 40 years later, the record still feels timeless and fresh, floating in a liminal space between the age-old traditions of raga and the innovations just beginning in electronics and tape manipulation. …