On May 26, Aquarium Drunkard and Org Music present Jesus People Music Vol. 2. Culled from the BlackForrestry’s AD mixtapes of obscure ’60s and ’70s Jesus People psych, rock, folk, and country. In advance of this collection’s release, we’re presenting its liner notes, written by Jason P. Woodbury . . .
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Funky crudités. 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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We're pleased to welcome Alex Pappademas and artist Joan LeMay on today's episode. Together, they have created a tremendous and deeply entertaining new book about one of Aquarium Drunkard's favorite bands: Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors From The Songs of Steely Dan . . .
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Glen Brigman, the lead singer and multi-instrumentalist of the Southern California band Triptides, has been dabbling in variations of adjacent genres throughout the band’s nine album tenure. The band, and Brigman, continue to gracefully evolve from their bleached surf rock roots, through their wandering psychedelia breadth. Now, fresh off the heels of last year’s melodic, Heartbreakers-esque release So Many Days, Brigman draws from our collective past, both literally and sonically, to craft Triptide’s most recent LP, Starlight . . .
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Like its lead character, Sling Blade walks a fine line between mishandling sentimentality and portraying somber reality. But its characters are never caricatures, transcending tropes with an often excruciating amount of empathy and depth, none more so than Billy Bob Thornton as the tortured Karl Childers . . .
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When I’m listening to Lael Neale’s new album Star Eater’s Delight, it makes me think of the duality of “resistance.” There’s resistance in the sense of restraint: the songs are skeletal, tenuously built on Neale’s hovering voice, unchanging drum machine, Guy Blakeslee’s minimalist guitar scribbles, and the Omnichord, which drones and decorates the edges. There are no . . .
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A deeply sighing cut of downtempo soul, the emotional gravitas on Cinnamon Soulettes’ “I’ll Show You How” is only amplified by the mystery surrounding its actual recording . . .
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At one point while listening to Anadol’s latest LP, I became overwhelmed with the sensation of descent. At 15 minutes, the fourth track of Felicita seems intentionally sequenced as the arrhythmic heart of the record. There is a bell, a heartbeat, a train, something scratching, something breathing, something screaming. It’s a provocative mix which rewards an attentive headphone listen . . .
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Yo La Tengo’s latest LP, This Stupid World, is another in a long line of masterpieces — this is a band that’s been so good for so long that it’s easy to take them for granted. But let’s not do that. As a little celebration of YLT, we’ve put together a mix of deep cuts stretching from the late 1980s to somewhere close to the present day. They’ve got a lot of this kind of thing. There are b-sides, bonus tracks, covers, instrumentals, guest appearances, remixes, live cuts, film scores … even the rejected jingle . . .
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Though the grooves of Rose City Band's Garden Party go down easy, when he was coming of age in Wallingford, Connecticut in the 1980s, Ripley Johnson defined himself by what he hated. “Being an adolescent you’re just against everything, so we were against all of the synth pop and '80s haircuts,” says Johnson. “Everything was neon and there were yuppies and Reagan . . .
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Sifting through the sands of time. It's time for Radio Free Aquarium Drunkard. This month, resident DJ Chad DePasquale opens up with New Happy Gathering, featuring jazz-funk, art-rock, sound experiments, and private-press curios. Next, Jason Woodbury’s Range and Basin offers long form, sprawling compositions spanning jazz, jam, psychedelia, and more. Then, Doom and Gloom from the Tomb with Tyler Wilcox, featuring a Yo La Tengo deep cut extravaganza from me this month ... rarities, oddities, live cuts, covers, collabs, guest . . .
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Via Brazil, polyrhythmic psych-laced orchestral steam heat. A kitchen sink kind of voodoo, complete with ambient bird calls, torrents of wind, hits of brass, and a bevy of unidentified "effects," 1968's Krishnanda is indeed greater than the sum of its parts. Genre-defying, the album's thirty minute runtime touches upon myriad modalities and is now back in print via the Brighton, UK based Mr. Bongo . . .
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Spanning 1998-2020, Once Again In The World is a collection of rare and unreleased tracks from Will Oldham as Bonnie 'Prince' Billy. Released last year, via the Portland, OR based Antiquated Future Records, the set acts as a companion the label's other Oldham offering, Time From Work To Go (Selected Songs, 1992-1998), gathering fifteen curios from the previous Palace era . . .
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Yeti went down in the psychedelic annals as a movement defining juggernaut. The four sides that constituted the behemoth opened the gates of kosmische hell—the stamp of approval that acid-drenched weirdness could live on well past the 1960s, even if the adherents to such gospel were relegated to pop-music obscurity. On Tanz Der Lemminge, we’re greeted by the familiar echoes of psychedelia, but not as we’ve known it . . .
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Originally released by Sub Pop in 1998, The Pernice Brothers' Overcome By Happiness was a leap of faith. Joe Pernice joins us to discuss how the record came together on the occasion of New West's expansive 25 anniversary edition and what promoted him to chase the chamber pop sounds he heard in his head . . .
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