Dungen :: Kalifen / Hî¤xan (Limited Deluxe Version)

The end of 2016 saw the return of Dungen, via Hî¤xan - an instrumental album commissioned by Anders Annikas of the Swedish Film Institute. The gig was to create a new original score to Lotte Reiniger’s 1926 film, The Adventures of Prince Achmed. As firsts go, the film is notable as the oldest surviving feature-length animated film; preceding Walt Disney's Snow White and the Seven Dwarfs by nearly a decade. As score's go, Dungen's is notable in that it highlights the group's varied, chameleon-like, strengths via 14 inspired soundscapes.

The group is set to perform their live score to  The Adventures of Prince Achmed at six dates across the United States, beginning March 15th in Philadelphia and wrapping in Los Angeles at the Getty Museum on the 21st. To coincide with the run a limited deluxe version of Hî¤xan is now available--of which the above video (directed by Jenny Palen, on Super 8) is culled.

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Address Los Angeles: 23000 Santa Susana Pass / Paul Wibier

Address Los Angeles, a recurring feature on Aquarium Drunkard, explores the lesser-to-unknown corners of LA: be it an address, an artist, or a fleeting thought.

LIFE Magazine laid them out like a high school yearbook. 242 young men, “One Week’s Dead.” “The numbers of the dead [from May 28-June 3, 1969] are average for any seven-day period during this stage of the war.”

Back home in America, a savage biker gang by the name of The Satans are busy terrorizing the deserts of California, raping and murdering, taking what and whom they want. It’s “the most vicious & violent film of the decade,” a “wild rebellion,” and “wild beyond belief.” If the cover of LIFE, the face of a single one of those 242 soldiers, is too heavy, the film Satan’s Sadists is having it’s second world-premiere in Montgomery, Alabama, at the Jet Drive-In, June 7th, 1969.

Out in California, Sidewalk Productions is on the front cover of that morning’s Billboard magazine, heralding a music production agreement with five major labels, as well as the soundtrack and scoring for a number of upcoming films. Only in passing, and incorrectly named, is their work on “The Satans” mentioned.

25 miles northwest of their offices, at 23000 Santa Susana Pass in the town of Chatsworth, on the near-derelict ranch where the film had been shot only a few months prior, a maniacal and sadistic man has transfixed a small band of people swept up in the drugs and mystical nature of 1969. They’d loitered around the set, walking around or watching the filming with a glazed stare. The father of this family fixed a couple of dune-buggies for the film. His follower’s devotion to him is absolute.

15 hours ahead, into the morning hours of Sunday, June 8th, 1969, the singer of the theme song to Satan’s Sadists is in Vietnam. He's cut his tracks with the people at Sidewalk — his old friend Harley Hatcher and future Acting-Governor of California Mike Curb — after basic training, but before shipping off.

Two months and two days later, the film is starting to gain some momentum, playing at more and more drive-ins across the country — and Sharon Tate, along with 6 others, have been murdered in a mass killing the police are calling “ritualistic.”

Paul Wibier :: Satan (Theme)

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Jake Xerxes Fussell :: Furniture Man

Next month sees the return of Jake Xerxes Fussell with his sophomore lp, What in the Natural World. Like its predecessor, this new offering again finds the Georgia native exploring traditional folk songs of the American south. Previously released single “Have You Ever Seen Peaches Growing on a Sweet Potato Vine?” found Fussell stretching his vocals to new heights, working a gorgeous, airy falsetto balanced  gently against a shuffling country rhythm.

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Funkadelic :: Live At Meadowbrook 1971

The only official, full recording of an early Funkadelic concert was first released on CD in 1996 -- thankfully Tidal Waves Music have (finally) issued the set on vinyl. The recording itself seems to deeply divide P-Funk fans, as it showcases a group in transition with new members that had no rehearsal time (and in some ways suffers for it). However, it’s a beautifully recorded document of Funkadelic on stage in a Detroit suburb, captured shortly after the release of their epochal ’71 masterpiece Maggot Brain. The sound of the vinyl is superb, and has much more range than the flat-sounding CD. For those reasons alone, it’s essential.

As George Clinton has always presented P-Funk concerts as a Parliafunkadelicment revue, this set starts off with 20 minutes of instrumental intensity from ‘Funkadelic’ before George and the ‘Parliament’ vocalists step up to their microphones. Kicking off with a blazing instrumental version of "Alice In My Fantasies" (itself not released by the group until 1974 in a vocal take), Eddie Hazel’s epic guitar solo "Maggot Brain" follows, and the onstage troubles begin. Drummer Tiki Fullwood and rhythm guitarist Tawl Ross had quit the band days before this concert. The rhythm guitar is handled rather flawlessly by Harold Beane (a Stax session cat whose awesome performance here shows that he was undoubtedly familiar with the records, and probably a fan himself), but Tyrone Lampkin behind the drum kit wasn’t able to set aside his flashy overplaying to settle into the deep pocket that Tiki laid down (a crucial element of the Funkadelic foundation).

As for "Maggot Brain", even Tyrone's showboating cannot diminish Eddie Hazel’s masterful playing. Of course the studio version is definitive (which is mostly just the two guitars, as Clinton mixed out the band tracks, as he has explained they played too poorly), but this full band version, flaws and all, is essential listening as well. According to the liner notes, original Funkadelic bassist Billy ‘Bass’ Nelson, was barking commands at Tyrone in an attempt to get him into the pocket throughout the show.

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Sloppy Heads :: Useless Smile

One-third of Sloppy Heads literally wrote the book on Yo La Tengo, and YLT's James McNew mans the boards for the Brooklyn-based band's debut . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 468: Jana Hunter - A Bright-Ass Light ++ Dogme 95 - Megafaun - / Find Your Mark ++ Amen Dunes - Green Eyes ++ Kamikaze Hearts - Defender ++ The Breeders - Only In 3’s ++ Mr. Airplane Man - Jesus On The Mainline (Traditional) ++ Cat Power - Cross Bones Style ++ Case Studies - Secrets ++ Bill Callahan - Diamond Dancer ++ Bonnie “Prince” Billy - My Home Is . . .

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Nick Cave :: Stranger In A Strange Land (Documentary, 1987)

Before 20,000 Days on Earth there was this. Produced by Bram van Splunteren, for Dutch television's VPRO in 1987, Stranger In A Strange Land captures Nick Cave at pivotal point in the long arc of his career. Here, we find a forty minute snapshot of Cave and the Bad Seeds during the near decade they spent residing and recording in Berlin. Regarding his time in the city,become a member or log in.

Bruce Springsteen :: The Ghost Of Tom Joad – A 2017 Reflection

The best songwriting works like a Rorschacht test. Observed from different angles, it reflects as much about the listener as it does the artist. When I first wrote about Bruce Springsteen's "Youngstown" and "Sinaloa Cowboys" for Aquarium Drunkard back in 2008, we were entering the Great Recession and the twin tales of Americans by birth and by choice spoke to us out of the mid-90s in a way that seemed even more relevant than before. My thoughts followed because of my surroundings.

As discussed in my original piece, Springsteen was reflecting on a quieter aspect of the decade -- an era largely remembered for the Dot Com boom and a general juggernaut economy. And yet, a decade that was just as hard and debilitating for large swaths of Americans as it ever was. So how does 2017 view a track like "Sinaloa Cowboys" in particular? This weekend brought a whole new vision. Between our new president's executive order establishing a new border wall and a temporary ban on immigration/refugees from certain countries, the protagonists at the heart of the song are now more of a warning for where bad policy can take us.

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Ty Segall :: S/T 2017

Always on a tear, Ty Segall has a new self-titled record out. Segall's tireless stream of releases means he and his rotating gaggle of shred-heads never linger too long on any one strain of blissed out fuzz rock. Ty has set aside the freaky drooling baby persona from last year's  Emotional Mugger  and returned to the rich, persisting influence of his main muse, T. Rex. Butbecome a member or log in.

Moon Duo :: The Aquarium Drunkard Interview

Guitarist Ripley Johnson and keyboardist Sanae Yamada record together as Moon Duo. Since debuting in 2009, the two have assembled a discography of dizzying melodies, spiraling, fuzz-drenched guitar explorations, and hypnotic rhythms, sounding something like a hybrid of Suicide and Neu! The band's new album, Occult Architecture Vol. 1, arrives February 3rd via Sacred Bones. Inspired by hermetic literature and the writing of Mary Anne Atwood, Aleister Crowley, Nathaniel Hawthorne, and others, it's the first half of a two-part sequence, embodying the concept of "darkness," while its companion will explore brighter tonalities.

AD recently spoke with Yamada and Ripley, seeking some explanation of the band's concept and attraction to magick. Below, our conversation, edited and condensed for clarity.

Moon Duo :: The Death Set

Aquarium Drunkard: I really like Occult Architecture Vol. 1. What led you to divide this record into two halves? It might be a little reductionist to say one half represents a dark side and one a light side, but was that sort of the idea?

Ripley Johnson: Yeah. We had a lot of material, so it just sort of made sense to organize it that way. When we were making the record, the seasons were changing. We started in the winter and then we went into the summer. It was just sort of a natural way to organize the material. We didn't want to do a double album, so it's two separate albums, but they're linked together. We wanted to create separation, because a double album is just a whole different beast. We didn't want the record to be this giant release that people had to really commit to digesting. We wanted each half to stand on its own.

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The Lagniappe Sessions: Hiss Golden Messenger

Lagniappe (la ·gniappe) noun ‘lan-ˌyap,’ — 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

Over the last couple years, the songs of M.C. Taylor and Hiss Golden Messenger have served as constant companions. On their latest album, Heart Like a Levee (Merge Records), HGM offers up songs about responsibility and love, duty and struggle. Songs for these times (and all times). "You can't choose your blues," Taylor sings, "but you might as well own them."

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Richard Osborn :: Endless

“He’s a student of mine and he’s better technically than me or Fahey."

Those are the words of guitarist Robbie Basho, speaking of his then protege Richard Osborn, who studied with Basho in the late '60s and early '70s. But like so many proponents of the American Primitive guitar style, Osborn is nothing if not patient. Sidelined by an injury, it's taken a handful of decades for his playing to emerge. But it's here now: in 2010, he . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 467: Jean Michel Bernard — Générique Stephane ++ Bob Dylan I Don’t Believe You [She Acts Like We Never Have Met] (Live, 1966) ++ Bob Dylan - Baby, Let Me Follow You Down (Live, 1966) ++ Van Morrison - Astral Weeks ++ Robert Stillman - Ruthie In May ++ Ryley Walker - Shaking Like the Others (Aquarium Drunkard Session . . .

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Lee Hazlewood :: Cowboy In Sweden / Reissue

Hey Cowboy. In my experience listeners first encounter the orbit of Lee Hazelwood in one of two ways; either via his work with Nancy Sinatra, or by way of  1970's Cowboy In Sweden - his opus.

Beginning with the release of their 2012 compilation The LHI Years, Light In The Attic Records have been faithfully reissuing Hazlewood's discography and, in turn, reinvigorating his legacy. The latest in the series, a reissue of Cowboy In Sweden, is arguably the most significant release in the series yet.

Alternately recorded in the spring of 1970 in Stockholm, and a house on the island of Gotland (where the album covers for 13 and A House Safe For Tigers were shot), the lp was one of several fruitful collaborations with Swedish filmmaker  Torbjî¶rn Axelman. In terms of atmosphere, Cowboy is both defined and augmented by the dual vocals of Suzi Jane Hokom and Nina Lizell, who collectively offset Hazlewood's baritone, imbuing the collection with an air of levity an grace.

Speaking to Aquarium Drunkard of the records import, label founder Matt Sullivan notes "Cowboy In Sweden is Lee's undeniable masterpiece. It's that moment when he's running from American ladies and the law (praying his son wouldn't be drafted), trying desperately to create a hit after so much success in the 60s, all while trying to keep his struggling label afloat. CBIS ultimately marked the final album released on LHI."

The LITA reissue boasts a pair of bonus tracks, alternate versions of "Easy And Me" and "Pray Them Bars Away". Below, check out both a taste of the former and stream the Axelman/Hazlewood film Cowboy In Sweden -- a project lovingly resuscitated via Light In The Attic as part of the deluxe edition of the lp.

Lee Hazlewood :: Easy And Me (Alternate Version)

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Marine Girls :: Lazy Ways

Been revisiting this one since our Deep Folk 6 mix (via Ben Watt) last spring -- Marine Girls second lp, 1983's, Lazy Ways. For those unfamiliar, prior to her teaming up with Watt to launch Everything But The Girl in 1982, Tracey Thorn co-founded this short lived post-punk outfit; a group whose entire recorded output consists of two full . . .

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