Videodrome :: Vigilante (1982)

In many ways, 1982's Vigilante is the scrappy kid brother of Death Wish. But its approach is leaner and meaner, rough around the edges and unvarnished. There’s a primal and animalistic undercurrent to Vigilante, grittier and sleazier then the Death Wish franchise or any of its “revengeplotation” contemporaries. The visual aesthetic and thematic philosophy is exploitative and nihilistic; ice in its veins and hate in its heart . . .

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The Cactus Blossoms :: The Aquarium Drunkard Interview

The Cactus Blossoms on One Day, their musical roots, Jenny Lewis, and what it was like to work with David Lynch on the set of 2017's Twin Peaks: The Return . . .

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Destroyer :: The Aquarium Drunkard Interview

Daniel Bejar has been making oblique, urbane pop symphonies as Destroyer for 13 albums and nearly three decades now, but Labyrinthitis is among his best. It pulses with dance rhythms, bristles with literate asides, unspools a hypnotic stream of film-like imagery, hazards a long, rap-inspired spoken word interval, and, once or twice, rocks unabashedly. It’s the kind of album, you can get lost in—or perhaps a little dizzy from. You don’t know quite what’s happening from moment to moment, but there’s a swirl and a sweep and an urgency to it that propels . . .

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First & Last: Japanese Private Press, Vol. 3

For much of Japan’s youth, the five nationally televised Beatles concerts of 1966 were transformational. Japanese academic Toshinobu Fukuya stated that the Beatles embodied a new identity for the country’s youth. Their presence had signaled that “one did not always have to obediently follow arrangements prescribed by adults; it was possible to follow one’s own path and still be socially and financially successful in life”

In this vein, we open this third installment of First & Last with a track from 1974 by 田中寛 (Hiroshi Tanaka) & 不破洋一 (Yoichi Fuwa), who in their liner notes written by a friend, dub the . . .

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Stan Batcow :: The Aquarium Drunkard Interview

Few people take the concept “create your own culture” to the extent of pStan Batcow. Since the launch of his label Pumf (Parsnips Under My Feet) in 1984, the musician, visual artist, and zine publisher from Blackpool, England has burrowed down into an unfathomably deep rabbit hole.

In a rare interview, Batcow shares the story of the label’s origins, describes some of their very strangest releases, and explains his obsession with the number seven . . .

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Bandcamping :: Spring 2022

News of Bandcamp’s recent acquisition by Epic Games had some independent labels and artists up in arms. But for now, the platform remains the best game in town — and for the time being, Bandcamp Fridays remain firmly in place for 2022. That means you can lend your support directly to those aforementioned labels and artists, with Bandcamp waiving its usual fees. The next Bandcamp Friday takes place April 1 and — big tech takeovers be damned — we’ve got a seasonal roundup of recommended releases. Fill up that cart . . .

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Tinariwen :: Radio Tisdas/Amassakoul Influences (Mixtape)

To commemorate a pair of remastered reissues of Tinariwen's first albums—2001's The Radio Tisdas Sessions and its 2004 followup, Amassakoul, the desert blues masters drop by with a special mixtape showcasing their influences . . .

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

Via satellite, transmitting 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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Ryan Walsh :: Transmissions

Roll up/that's an invitation...Today on the show, we're joined by a return guest, Ryan Walsh of Hallelujah the Hills. He’s appeared here on the show previously to discuss his great Van Morrison book, Astral Weeks: A Secret History of 1968 and now he joins host Jason P. Woodbury for a conversation about Van Morrison, the paranormal, and mystic corners of The Beatles' universe. On April 1st, you're going to want to head over to ESPeatles.com, to discover a truly freaky Beatles project, related to the obscure occultist HX Newhaven . . .

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Chris Bowden :: Time Capsule

A time capsule, indeed. First released in 1992, composer and saxophonist Chris Bowden's debut album remains an essential listen. An idiosyncratic and cinematic bouillabaisse of sound, if anything, the record sounds right on time as it zigs and zags between dub, sinuous funk, orchestral strings, and progressive jazz . . .

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Videodrome :: The Tale of Kid Blue and The Christian Licorice Store

Welcome to Videodrome. A recurring column plumbing the depths of vintage and contemporary cinema – from cult, exploitation, trash and grindhouse to sci-fi, horror, noir, documentary and beyond . . .

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Bee Pieces :: Dorothy’s On Island Time (Featuring Mark Lightcap)

A blissful reunion of Acetone drummer Steve Hadley and guitarist Mark Lightcap, "Dorothy's On Island Time" sways like a leaf on the air, barely suspended. From it the recently released Volume 1, the song allows Lightcap to get generously far out, playing it woozy and open. Though more compact than the average Dick Slessig Combo joint, it's no less locked into a state of meditative charm . . .

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JJ Cale & Leon Russell :: Paradise Studios, Los Angeles 1979

It's Tulsa time. Recorded live in June of 1979 at Leon Russell's Paradise Studios in Los Angeles, this 21 track session burns slow and low. The occasion? None other than the release of Cale's fifth record, and first LP in three years, the aptly titled, 5 . . .

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Whitney K :: Hard To Be A God

Following his 2021 lp, Two Years, Whitney K (the recording moniker of Konner Whitney) returns with five new tunes of VU-inspired outsider-avant-blues via Hard to Be a God, due in May on Maple Death Records . . .

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

Tropico impasto. Via satellite, transmitting 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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