Gina Birch (The Raincoats) :: The Aquarium Drunkard Interview

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With their jittery harmonies and bounding rhythmic clangor, their insistence on doing it themselves, and their brash disregard of expectations, The Raincoats didn’t just talk about feminism: they enacted it. Nearly 20 years on after The Raincoats last album, founding member Gina Birch has made a solo album, I Play My Bass Loud, her first in a multi-decade career (unless you count a 1994 album by The Hangovers). We talk about her new record, her early days in squats, her love of reggae and the legacy of The Raincoats . . .

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Tongue Depressor :: Bones For Time

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Hailing from the upper reaches of the Northeast, Henry Birdsey and Zach Rowden managed to branch out into the furthest corners of Free Music before coming together as Tongue Depressor. The pair has made their case for the future of organic music over the course of nearly two dozen releases in the seven years since, setting the template for the most open form of Avant-classical meets American primitive sounds that have yet to grace the ears of adventurous listeners. Bones for Time finds Rowden and Birdsey at the pinnacle of their powers, with the double LP treatment offering a . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PST, Channel 35)

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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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The Greg Foat Group :: The Blue Lotus

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Greg Foat’s latest, Blue Lotus, is as good an entry point as any. Credited to the Greg Foat Group, his longstanding ensemble with Rob Mach, Trevor Walker, Phil Achille and Eric Young, Blue Lotus also features veteran UK soprano saxophonist Art Themen and the ferocious drummer Morgan Simpson of the shit-hot UK avant-rock band black midi. Foat himself, of course, mans a formidable Wakeman-esque bank of electric piano, vintage synthesizers, ring modulators and space echo units . . .

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Jared Mattson :: The Aquarium Drunkard Interview

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Mattson 2 guitarist Jared Mattson joins us for a discussion about his solo debut Peanut, covering Ween and John Coltrane, inhaling tire rubber, and the underrated power of Andy Summers of The Police . . .

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Transmissions :: Mac DeMarco

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We’re hanging out with Mac DeMarco this week on Transmissions. His latest album forgoes lyrics in favor of instrumentals. It’s called Five Easy Hot Dogs and it came about as the result of series of recording sessions Mac underwent while on a road trip. We caught up to discuss life in LA, quitting smoking, the influence of heavy grade players in his orbit like Thundercat, and more . . .

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Santaka :: No Rivers Here

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No Rivers Here exists in constant motion, pulling together jazz phrasings, fourth world tones, and Sextant-fusion rhythms. It's three tracks rope you in with its aqueous grooves and perpetual motion. Small figures link together creating both a sense of repetition and continual movement. It’s generative and sentient, a kinetic energy slightly too sinister for the fourth world . . .

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Diversions :: Erik Hall On Simeon ten Holt And Steve Reich

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In 2020 Erik Hall released his version of Music for 18 Musicians by Steve Reich--the first in a planned trilogy of classical minimalist interpretations by the Chicago musician. This month sees the release of the second installment in the series, Hall's take on Canto Ostinato by the late Dutch composer Simeon ten Holt, an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. For this edition of Diversions, Hall digs into the inspirations behind the series thus far . . .

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Numün :: Book of Beyond

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On numün’s excellent new album Book of Beyond, the synthesis of earth and space seems more complete. Indeed, the entire album exudes a kind of gravity, decidedly reminiscent of the wide-open melancholy of Bruce Langhorne’s Hired Hand. numün have perfected something like a space-age cowboy music here, plaintive and freighted. Even its sci-fi sonic filigree, the theremin trills and Mellotron moans, seem like signifiers of a future that has already been foreclosed . . .

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Pärson Sound

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With a rallying call of “We, Here and Now!,” and an abiding faith in minimalism, collective improvisation, and amplification, Pärson Sound were the primordial sonic maelstrom from which much of Sweden’s underground ‘progg’ scene emerged . . .

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Lisa O’Neill :: All Of This Is Chance

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On her latest, All Of This is Chance, Irish singer/songwriter Lisa O'Neill leads listeners down a foggy, meandering path. It opens with a telling lyrical invocation: “Clay is the word and clay is the flesh, where the potato gatherers like mechanized scarecrows move along the side-fall of the hill.” O’Neill’s hunger is for a more far-reaching connection; to nature, to creativity, and to an unseen spirit . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PST, Channel 35)

SIRIUSPosted on

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 Tilston :: The Aquarium Drunkard Interview

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Unsung Britfolk hero Steve Tilston joins us to discuss his sparse early '70s gem An Acoustic Confusion, the influence of Bert Jansch, and that time John Lennon wrote him a letter...which he never received . . .

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Transmissions :: Badge Époque Ensemble

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Max Turnbull of Badge Époque Ensemble on Transmissions, our weekly podcast. Last year, BEE released the magisterial Clouds of Joy, which landed on the Aquarium Drunkard Year in Review best of the year list. A stirring blend of jazz, choral music, prog, funk, R&B, and indie rock, it’s a layered and dynamic creation. We discussed that record, Max’s work with his wife, Meg Remy of U.S. Girls, his lifelong hip-hop influence, and the myriad and mysterious ways music connects to listeners . . .

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Guiding Light :: A Tom Verlaine Appreciation

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Heartfelt tributes to Tom Verlaine have been pouring in since news broke of his death late last month. A famously enigmatic character, the Television co-founder never went out of his way to make himself lovable — but he was loved all the same. As you’ll see below, Verlaine provided a guiding light for a wide array of artists through the decades. His deeply original approach (to the guitar, to songwriting, to life) went beyond mere influence and inspiration; it seeped inextricably into the DNA of generations of musicians and writers. As a result, this case will likely never be . . .

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Posted on Television Tom Verlaine