Clutchy Hopkins :: High Desert Low Tide

In 2007 I invited the California duo known as Clutchy Hopkins to guest DJ my radio show. These were the days of MySpace and flip phones. At the time (still?) there was little known about who was behind the moniker, or the origin of their music.

And now they are back. According to a press release this morning, aided by  producer/DJ, Fat Albert Einstein, there is a new collaborative album in the can entitled High Desert Low Tide, which promises to "take  listeners on a journey . . .

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Transmissions Podcast :: Ryley Walker

On last year's Golden Sings That Have Been Sung, Chicago-based singer and guitarist Ryley Walker came into his own. It wasn't his first great record, but it was his most realized, a work that added shades of jazz, psychedelia, and experimental rock to his soulful folk sound. Writing about the record, AD's Chad DePasquale noted: "On two previous two long-players, comparisons to artists like John Martyn, Bert Jansch, Tim Buckley, and Nick Drake dominated conversations about Walker, but his latest finds him exploring English jazz folk through the unique lens of the Chicago experimental scene he came up in, folding in elements of improvisational jazz and experimental textures."

We caught up with Walker last fall at Fivethirteen Recording in Tempe, Arizona, to discuss the record and hear a few songs. Keeping with his spirit of experimentation, Walker and band decided the setting was right to try out a few new tunes. We're happy to debut three of them, "Shaking Like the Others," "I Laughed So Hard I Cried," and "Two Sides To Every Cross," here for the first time, along with our interview.

Transmissions Podcast :: Ryley Walker

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Cate Le Bon :: Rock Pool

Rock Pool  is an extension of the madcap musical world of Le Bon’s last record,  Crab Day. She calls these songs the “killed darlings” of that studio session, in which she conjured the ritual tunes for an absurdist holiday of the mind, her “crab day.” The sound is playful: wild fun in constant danger of unraveling, or perhaps some FLUXUS game for rock band. However, the playfulness is contained in deftly composed songwriting, bursting with formal . . .

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Address Los Angeles: 3101 S Western: 21st Century Ltd.

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.

By 1905 Jacob Adloff was enjoying a great degree of success. In the 27 years since he’d moved to America from his native Germany, he’d made a name for himself bottling and distributing beer, was a partner in several saloons, and had married into a well-established pioneer family. At the age of 45 his prize investment was surely Vienna Park -- a beer garden, restaurant, bowling venue, outdoor space and gathering area.

Spanning 20 acres Vienna Park was often raucous, with concerts, fairs, ample evening illumination and manicured gardens. Located at the corner of Western Avenue and Jefferson Boulevard, in what is now called Jefferson Park, Vienna found itself   just outside of city limits -- until 1896. As history is cyclical, local pressure and a growing city wrapped it within its bounds, reigning in the parks more libidinous behaviors.

Nearby, Charles Victor Hall was becoming a small-time oil tycoon, and owned several properties near Adloff’s which were occupied by the cities more prominent and wealthy (read: less Eastern-European) citizenry. Hall, under the guise of an Improvement Society, set out to convert the land into a public park, driving the crowds, and Adloff, away. And while no bucolic utopia was to come, Adloff likely read the writing on the wall. He subdivided his lot and set out to sell -- but not before building at least nine homes on his own plots, some of which still stand in the neighborhood today. Adloff had many other interests in his care, including a popular saloon on the corners of N. Main and Chavez, in the heart of old Chinatown and on the site of the future Union Station.

Simultaneously, racial covenants were making moves to ensure that an area which had come to see some of the greatest diversity of European immigrants and descendants stay white. In 1928, ruling on a case involving a tract of land mere blocks from the former site of Vienna Park, the California Supreme Court ruled that the covenants could continue to bar occupancy by non-Caucasians -- but not the ownership of the land itself.

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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 466: Jean Michel Bernard — Générique Stephane ++ Sun Ra - We’re Living In The Space Age ++ Honeyboy Martin & The Voices - Dreader Than Dread ++ Johnny & The Attractions - I'm Moving On ++ Andersons All Stars - Intensified Girls ++ King Sporty - DJ Special ++ Freddie Mackay - When I'm Gray ++ Hopeton Lewis - Sound And . . .

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Abadane :: Freedom (Hourya)

The enduring enigma of the unknown. A cornerstone of various compilations (both authorized and not) focused on subrosa 70s North Afican folk and pop, Abadane was a short-lived Algerian outfit -- "Freedom (Hourya)" is their legacy.

1970's Algerian Folk And Pop by Freedom (Hourya

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Mor Thiam :: Ayo Ayo Nene (Blessing For The New Born Baby)

In 2008, via the first volume of Jazzman Record's Spiriual Jazz series, I stumbled upon Senegalese drummer and bandleader Mor Thiam's "Ayo Ayo Nene." Cut in 1973, the track was originally found on Thiam's Drums of Fire -- a record that was beyond scarce. Until now. Jazzman has just reissued the LP. I cannot possibly spit enough hyperbolic praise here to do the track justice, so . . .

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The Beans :: Spill The Beans

With flowers tucked behind their ears and thumbs pointed West (cue music...) the youth of the mid-60s were hip to turn on, tune in and drop out. The high desert residents of Phoenix, Arizona were no strangers to the unearthly vibrations that were coming from the Bay Area. Local freakazoid Bill Spooner, later of The Tubes, was quick to channel that energy into a series of early psychedelic outfits including The XL’s, Oat Willy and the Dream Band and local celebrity Mike Condello’s aptly named band Condello, who . . .

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Bash & Pop :: Anything Could Happen

26 years ago, when the Replacements called it quits the first time, it was hard to know what to expect from any of the individual members. For a brief moment though, it was Tommy Stinson who looked like he might best carry the band's torch. 1993's Friday Night Is Killing Me by his band Bash & Pop still holds up as maybe the most rollicking and rocking of any post-Replacements . . .

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Catching Up With Foxygen: The Aquarium Drunkard Interview

In a relatively short period of time, Foxygen has managed to please, vex and elude a lot of listeners. Needlessly so, it seems. Over the course of a afternoon in conversation at member Jonathan Rado’s Los Angeles home, what emerges is that in spite of anyone’s desire to nail down outside influences, Foxygen is about two lifelong friends being on the same page. Almost four years since we last caught up with them, the duo of Rado and Sam France expounded on the conception and execution of their new album, Hang, how they’ve evolved as performers and record-makers, and the misconception that annoys them still.

Aquarium Drunkard: In 2012, when first speaking with us about Take The Kids Off Broadway, you were already plotting the release of We Are the 21st Century Ambassadors of Peace & Magic, but you also said at the time that after that you planned to release a record called … And Star Power and then one called Hang. And now, here we are. So…how long has this record actually been gestating?

Sam France: Well, I guess it’s been a long time.

Jonathan Rado: It’s been probably since around that time. I would say that is pretty much around the time we came up with the title and the idea. Because we had recorded that song [“Hang” from … And Star Power] around that time, three-and a half years ago — the version that’s on that record, before we’d even begun recording for that record. And we knew then that we wanted to call an album Hang as well. That was a fresh idea when we brought it up to you.

AD: So how didactic was that planning? Did that mean that you sort of created a schedule, “we’re gonna do this, then this, then that” or was it more of a fun idea to kick around?

Sam France: Kinda like it’s our schedule, that’s how we do stuff.

Jonathan Rado: We’re lucky we were able to, we always planned on doing it.

AD: From then until the actual recording for this record, how did your vision and conception change?

Jonathan Rado: We actually wrote the songs back then — we had the idea that we wanted to do Hang and that we wanted to do it with an orchestra — that was always the idea, to do it with big arrangements and have it be a complete piece of music. The 21st… album hadn’t even come out yet, so we recorded that, then we started making … And Star Power and focused really intently on that. A lot of these songs were really written during or before Star Power. We had the sound, conceptually, sketched out already.

AD: One of the things that came up when last spoke was that the material you were releasing and performing then had actually be completed for a while, and whether you were already over-it in a way. It seems like you’re still in that boat — it’s not like you could say you’ve had some nice down time in between records — you’re doing the same thing again. How does that feel?

Jonathan Rado: We’re constantly thinking ahead. We’re slightly more caught up than we were at that point. We’re already gestating the next couple of records, the next album at least is starting to form. At that point, back in 2012, we were anxious, we had too many ideas. Too many ideas to even begin to start to make. We’ve gotten a bit older and have caught up with ourselves, we have a more natural schedule but we’re still ahead of the game a little bit.

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Banana :: LIVE

Composer Josiah Steinbrick suggests that LIVE, the new four-song EP (mini-LP, maybe?) by his Banana ensemble is "For those in search of a bath, a rinse, a departure, or an expansion." Who among us couldn't go for that? Recorded live on reel to reel tape for airing as a special program on Dublab, LIVE taps into Steinbrink's inspirations. The recordings bubble with Steve Reich-style repetition, employ Saturnian melodies inspired by Sun Ra, and . . .

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Shirley Collins :: The Aquarium Drunkard Interview

Including Shirley Collins' album Lodestar in our 2016 Year in Review feature, we wrote:

"Returning with her first recording in 38 years, song collector, treasurer, and interpreter Shirley Collins unites ancient English folk ballads to Cajun reveries, presenting even Lodestar’s 16th century material resolutely in the present tense. She finds dark humor and pathos in these songs, her voice, regained after years of disuse and sickness, sounding warm and present. Surrounded by fiddle and hurdy-gurdy, Collins presents the traditional as avant-garde and her relationship to these songs goes far beyond singer into the realm of inhabitation."

At 81, Lodestar finds Collins in fine form. It connects to her earliest works -- which helped spark the English folk revival -- but is rooted in the present. AD spoke with her about putting the record together.

Aquarium Drunkard:  Lodestar is a captivating record. You’ve long struggled with dysphonia but began singing again in 2014, at the behest of David Tibet of Current 93. When and how did it start to feel possible for you that you’d make another record?

Shirley Collins: Well I guess after the gig at Union Chapel, London in February 2014, when David Tibet persuaded me to sing after years away from the live stage. David proposed to make an EP of the two songs ("All the Pretty Little Horses" and "Death and the Lady"). But there were other songs I wanted to sing, and with a bit of encouragement, and an offer from Domino, I went ahead.

AD: How did it feel recording again?

Shirley Collins: Anxious at first, but then I really started to enjoy the process as I was working with such good and understanding musicians. Also, the technology had caught up with me, and we were able to record at home. In a way, it was like making a field recording.

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Broadcast :: Black Session (La Maison de la Radio: Paris, France)

If you never had the pleasure of seeing Broadcast on tour, particularly in their early years with keyboardist Roj Stevens and guitarist Tim Felton, then this is for you. Actually, this is for everyone. It’s a dark and saddening time for fans of the band since the recent and sudden passing of singer/multi-instrumentalist Trish Keenan. But I can’t think of a better way to celebrate her life than to spread the group’s music around to as many . . .

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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 465: Jean Michel Bernard — Générique Stephane ++ Ryo Kawasaki - Raisins ++ Herbie Hancock - The Twilight Clone ++ James Mason - Sweet Power of Your Embrace ++ Talking Heads - Double Groove (Outtake) ++ David Bowie - Fashion ++ The Headhunters - If You’ve Got It, You’ll Get It (AD edit) ++ CAN - All Gates Open ++ Cate Le Bon - Rock . . .

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Gold Star :: Sonny’s Blues

Gold Star is Marlon Rabenreither. On his forthcoming lp, Big Blue -- named after the ramshackle Hollywood home where he produced and recorded the album -- Rabenreither shines and redefines the sound of his last two efforts. A Los Angeles native, the resulting album is an autobiographical work as indebted to writers Fante, Baldwin and Chandler as it is Neil Young, Leonard Cohen and Wilco. Out in March via Autumn Tone, this is the first taste . . .

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