Like many reggae classics, there’s some digging to do when looking into the history of “Rise Up.” The track originated as a riddim for roots legend Max Romeo on the Barnes-produced I Love My Music in 1982. However, a keen producer’s instinct told Barnes he had a burner on his hands, and he overhauled the mix. Stripping away Romeo’s original vocal entirely, leaving only the relentless rhythm track and mantra-like chorus.
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Bill Evans :: Live Footage 1964-1975
Via fan compiled live footage of several sets spanning 1964 to 1975, the meditative grace of Bill Evans. Sweden. France. Denmark. Transcendent.
Bill Evans: Evans In England / Wes Montgomery: Back On Indiana Avenue
Hot on the heels of last year’s revelatory Eric Dolphy release, Resonance Records returns this spring with two essential sets of previously unheard jazz bliss, all presented with characteristic care and love.
Orrin Evans :: The Aquarium Drunkard Interview
The movement of musicians into or out of a jazz ensemble isn’t the kind of news that draws much attention. They are so often juggling different projects and schedules that […]
Terry Allen :: The Aquarium Drunkard Interview
A singer-songwriter as acclaimed for his art career, Terry Allen has always done things his own way. From his blood-soaked travelogue debut Juarez, to sculptures that reside in airports, he’s devoted his life to staggering bodies of work that move effortlessly between gallery walls, theatrical stages, and public airwaves. And that’s barely scratching the surface…
Broadcast :: Maida Vale Sessions | Microtronics – Volumes 1 & 2 | Mother Is The Milky Way
After reissuing the bulk of the legendary group’s discography in 2015, Warp has recently gone one step further and lovingly issued a trio of Broadcast rarities for the first time. Utterly unique in the way they synthesized and transcended their acknowledged influences to craft one of the most rewarding discographies in modern music, each of these new releases showcases a different facet of what made Trish Keenan and James Cargill’s group so special.
Michael Hurley :: The Aquarium Drunkard Interview
With a career that stretches back to his 1964 glistening debut on Folkways, Michael Hurley has continued to churn out wholly singular albums of interstellar country blues, scattered across decades and labels. Released in December just prior to his 80th birthday, his latest The Time Of The Foxgloves finds a reinvigorated Hurley in a studio for the first time in a while. We recently had a lengthy phone call with Hurley to discuss his new album, the pleasures of listening to the CBC, inspiration and collaboration, what he learned from listening to Duke Ellington, the book he’s working on, and more.
Jonny Trunk :: The Aquarium Drunkard Interview
For the past 25 years Jonny Trunk has done things his own way. Never content to simply repackage an album for the nth time, Trunk has always dug way deeper than most when it comes to the reissues and discoveries he releases on his Trunk Records imprint. Starting with the first-ever commercially released compilation of library music and the initial release of The Wicker Man’s glorious soundtrack, Trunk has continued to unassumingly and consistently influence certain subsections of modern music and the ever-churning reissue juggernaut.
James Matthew VII :: Stoned When I Pray
Drawn from studio sessions recorded across North America with a variety of collaborators, the haphazard devotion of James Matthew VII’s overlooked 2019 full-length Stoned When I Pray is on full display throughout the title track’s five glorious minutes.
File next to Matthew ‘Doc’ Dunn’s recent batch of pitch-perfect cosmic country platters (which Matthew VII has contributed to)—exquisite and ecstatic.
Diversions: Evan Cheadle / Beyond ‘Fault Line Serenade’
Evan Cheadle’s debut full-length is a staggering collection of hazy and fragile songs, adorned with the finest of baroque and psychedelic flourishes. Written between several years of touring as a member of Canadian stalwarts The Deep Dark Woods, Fault Line Serenade builds upon Cheadle’s 2018 EP, and recalls greats like Bill Fay or Gene Clark and more contemporary earthy travellers like Josephine Foster or Jacco Gardner.
Willie Dunn :: Creation Never Sleeps, Creation Never Dies: The Willie Dunn Anthology
Most known for his searing 1971 anthem “I Pity The Country”—which sadly still remains so incredibly poignant and relevant—that opens the monumental Native North America, Vol. 1: Aboriginal Folk, Rock, and Country 1966–1985 compilation, the trailblazing Indigenous singer-songwriter, activist, filmmaker, and politician Willie Dunn finally gets his due.
Kacy & Clayton and Marlon Williams :: Plastic Bouquet
After fortuitously coming across the music of the Kacy & Clayton and realizing they were a current act, not some glorious dissipation from the past, the New Zealand musician and actor Marlon Williams soon found himself 8,000 miles away from home, recording a collaborative album in the middle of a brutally cold winter on the Canadian prairies.
The Aquarium Drunkard Guide To Daniel Romano’s 2020
Talk about making the most of the pandemic. Unable to continue his own never ending tour, the already-prolific Romano threw his weight into releasing albums—both newly and previously recorded—like never before. Nine full-lengths and one EP from the shape-shifting Canadian polymath and a handful of trusty collaborators—not to mention a book of love poems. Here’s Aquarium Drunkard’s guide to Daniel Romano’s year that was, as of the end of September.
Sentimental Ornament: A Broadcast Rarities Mix
In celebration of what would’ve been the deeply-missed Trish Keenan’s 52 birthday, Aquarium Drunkard presents a survey of rare Broadcast material pulled from a variety of lesser-known sources. Not touching on any of their collaborations, inventive remixes, nor live material (save for a Nico cover from a 2003 Peel Session), Sentimental Ornament finds the inimitable group at the most experimental edges of their galaxy.
Broadcast :: Sixty Forty (Nico cover)
Broadcast’s cover of Nico’s “Sixty Forty,” taken from their final Peel Session recorded in July 2003, finds the group exploring the perfect middle ground between the (then about to be released) cracked pagan kaleidoscope of Haha Sound and their next move, the searing minimalist cut-up Tender Buttons.