Over the course of six decades, Archie Shepp has blazed new trails. To celebrate his latest, Let My People Go, a collaboration with Jason Moran, he explores personal standards. Shepp was interviewed by Sarah Louise for Aquarium Drunkard . . .
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This Thursday, April 1st — Aquarium Drunkard presents an intimate livestream performance with Steve Gunn. The Brooklyn-based artist has been recording new material in Los Angeles and made time to stop by the East Hollywood venue, Gold Diggers, for a set of recorded music. Gunn’s first fully produced livestream event finds him dusting off a few of his catalog standbys, along with debuting new material.
In anticipation of the set, Gunn joined us for a few quick questions about stepping back onto a stage, how he’s been staying creatively occupied, and his forthcoming album . . .
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The mystical notions of theosophy have inspired long artists like Sun Ra, Van Morrison, and Elvis Presley. With the publication of the 1905 text Thought Forms, Sacred Bones Records continues a long tradition of music and the occult intertwining in the pursuit of making the unknown knowable . . .
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For the track "Cowboy", off last year's Gold lp, Callahan tagged up with filmmakers Anthony Gasparro and Mikey Kampmann to bring the song to visual life.
Below, we flip the script as Callahan catches up with the pair to discuss their working relationship, storytelling, synchronicity, rippling kindness and the power of the tuna melt as edible nostalgia . . .
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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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In 1972 Stack Waddy's second and final effort, Bugger Off!, posed the question "could 'Willie The Pimp' really get any nastier?", and then proceeded to answer it with an emphatic, phlegmy, "yes." Proto-punk in form and approach, the four-piece were signed to John Peel's Dandelion label, knocking out a pair of lps before calling it in 1973.
This is Hot Rats in the garage with paint thinner . . .
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Welcome back to the stacks. It’s Aquarium Drunkard’s Book Club, our monthly gathering of recent (or not so recent) recommended reading. Your librarians this month are Justin Gage, Nereya Otieno, and Kyle Fortinsky, exploring books on music, Black feminism, solitude, and the brutal (and shifting realities) of the late Lou Reed . . .
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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 . . .
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The deep pool of sound. 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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John Fahey: resurrected once again. This 1967 soundboard recording, discovered among lost readings by beatnik poets Allen Ginsberg and Gary Snyder, is the oldest recorded solo concert from the acoustic guitar innovator . . .
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Our guest this week on Transmissions is Martin Courtney of Real Estate. On March 26th, the long-running New Jersey group releases a new EP, Half a Human, which embraces the jammier side of the band and continues the stylistic explorations of 2020's The Main Thing. We discussed record stores, adjusting to life without live music, Twin Peaks, and Courtney's 2015 solo album Many Moons—and its forthcoming follow up . . .
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A weird beast twisted in the very best sense, the hypnagogic assemblage finds its curator (Belgian dj, soFa) mining a disparate trove of curios from around the globe. Aesthetically eclectic, the set maintains a loosely connected through-line, one that equally embraces a German children's choir, dumpster synths, nascent drum machines, and 8-bit madness . . .
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Banging gongs and setting the controls for the heart of the sun. Captured on a very nice audience tape, this is the Floyd at their most epic and spacey: six songs in just under 90 minutes. Lumbering jams, funereal keyboards, searing lead guitar, harrowing screeches. The good stuff . . .
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Last year sorta got away from us. You too? How weird. Well, we’re back with more Elevated Rail.
Turn on, tune in, space out . . .
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Formed in 1968, Taste of Blues is a psych-prog-blues-rock amalgam fronted by Claes Ericsson, who later founded the '70s jazz/fusion outfit, Lotus. As a project, the group first crossed our radar via a motorik mix a pal used to spin comprised of what he deemed proto-CAN. Curious? Whet your appetite via the multifarious "Schizofrenia" clocking in at a cool 17 minutes. Headphones recommended . . .
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