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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Backed by a murderer's row of local Nashville talent (Erin Rae, Rich Ruth, Sean Thompson, Adam Bednarik and Dominic Billett), Spencer Cullum returns to AD fold with the following encore Lagniappe Session. Not unlike his 2021 entry, the set of covers riffs on various portions of Cullum's musical diet, from the '70s avant pop of Slapp Happy to the ineffable magic that was Soft Machine's second full-length . . .
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A world-weary would-be swansong by a maverick songwriter with nothing left to lose, Life and Death in Paradise is a portrait of Mike Cooper’s iconoclastic brilliance shining like the strange and glorious diamond it is, forever ahead of its time . . .
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Producer Andy Zax joins us this week on Aquarium Drunkard Transmissions. Zax was exploring Rod McKuen's vaults one day when he uncovered something remarkable: lost music by electronic pioneer Mort Garson. Ahead of of Sacred Bones' release of Journey To the Moon and Beyond, Zax joins Jason P. Woodbury to discuss his archival adventures in pop music, the moon landing, Woodstock, Leonard Nimoy's late '60s discography, his forthcoming Extinctophonics . . .
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Unlike Lynch’s other commercial work, which highlights his aesthetic trademarks while showcasing the brand’s merchandise, the Georgia Coffee campaign is as much an advertisement for the product as it is for Twin Peaks, simultaneously exhibiting the series’ seismic impact on pop culture as well as Lynch’s uncanny ability to straddle the line between the mainstream and the avant-garde . . .
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Produced and co-composed with experimental-indie-jazz legend Chris Weisman, Blake Mills' new record feels like a slow-moving explosion -- a heated fog. Mills, who by now has already won a Grammy and played with Joni Mitchell for a while, inverts the very folk he aims for here, unwinding and disintegrating it into lush, counterintuitive arrangements . . .
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Ente is the main project of Arthur Bittencourt, one of the most promising names of contemporary Brazilian music. "eternamente sua", the band's second ever single (and the first from a debut record scheduled for this year), sounds like Clube da Esquina if they had been heavily into shoegaze. Bittencourt says he was influenced by Popol Vuh and Shostakovich as well as by the landscapes of Minas Gerais . . .
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Trumpeter Steve Bernstein joins us to discuss the electronically processed jazz of Sexmob's The Hard Way and share wild stories of working with legends like Lou Reed, how he helped prep the Sun Ra Arkestra to appear on-stage with U2, and tell us about the one time he had to tell Hal Willner "no . . .
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From the rare and obscure to the unknown, producer Tee Cardaci mines eleven genre-spanning gems produced during the waning days of Brazil's military dictatorship, recorded by a new emerging class of artists operating outside of the major label system. Set to release August 4th, via AD and Org Music, we asked Brazilian music authority Allen Thayer to catch up with Cardaci in regards to the three year process it took to make the Sonhos Secretos compilation a reality . . .
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A mere spelling error gave Giovanni Tommaso's 1970 solo debut Indefinitive Atmosphere its distinct title, but the Italian bassist is responsible for its groovy slices of spunky fusion, jazz rock, and out there vibrations . . .
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Like its predecessor, this 16-song collection was compiled by garage rocker and record-maker Mikey Young (he’s played in Total Control, Eddy Suppression Ring, the Green Child, the Ooga Boogas and others, and mastered more hard-rocking down-under discs than you can shake a stick at) and Keith Abrahamsson (the founder and head of A&R at Anthology Recordings). Together the two have combed through dusty crates and piles of singles, finding long-neglected gems among collections bound for second-hand shops . . .
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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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Steve Gunn and John Truscinski have been making improvised music together for a decade and a half and five albums, exploring the fiery conjunctions between experimental drone and rock and roll. Their Soundkeeper, from 2020, was a revelation in the way it channeled explosive rock energy into free-ranging instrumental inquiry. Now, the duo adds a third in Bill Nace, the Body/Head collaborator they first worked alongside on a Kim Gordon-fronted project to accompany Andy Warhol’s film Kiss. The expansion makes a fundamental difference, anchoring this often incendiary guitar and percussion experiment in an endless serene now . . .
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Though Gia Margaret's 2018 debut, There’s Always Glimmer, was the striking work of a singer/songwriter, when medical issues put a strain on her voice, she turned to instrumental music, first with her ambient leaning self-titled 2020 album, and now Romantic Piano, a collection of moving piano compositions, mostly instrumental, that feels at once meditative and comforting. It’s the kind of music that carves out more space for the listener—and it turns out, it’s the kind of music that did something similar for its creator . . .
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Brooklyn's Emergency Group emerged earlier in 2023 with Inspection of Cruelty, a radical cassette on Island House Recordings. Blending electric Miles adventurism with kraut-y psychedelia, it was an auspicious debut — and its two extended tracks left you hungry for more. Fortunately, the quintet is already in the planning stages for a second LP, this one in collaboration with Psychic Temple / Big Ego mastermind Chris Schlarb. While we wait for the fruits of those sessions, dig Emergency Group's first Lagniappe Session — it's a doozy . . .
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