Outré California. 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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Yesterday, legendary Brazilian musician Erasmo Carlos passed away at 81. Simultaneously proto-Tropicalia and post-Tropicalia, his trilogy of releases from 1970 to 1972 embody an indie aesthetic of twangling guitars and cosmic laid-backness that, rather than merely mimicking (and being subsumed by) American trends, may fit completely in an admirable tradition of obscure para-country balladeers, with Robert Lester Folsom, F.J. McMahon, and others . . .
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Recorded in the '70s and early '80s like his exceptional album Neighborhoods and presented again by the Freedom to Spend label, Back to the Woodlands by experimental composer and public radio explorer Ernest Hood layers field recordings from his neighborhood in Western Oregon with washes of zither and synthesizer . . .
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Tradition runs rampant around Thanksgiving: generations of old recipes, football, Alice’s Restaurant . . .
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...the EP finds the Heidi Alexander-led group embracing all manner of sinuous funk, particularly on Earth's second track, "Feed Me". Reminiscent of ESG/Talking Heads/Slits, the near seven minute embrace drips with pathos as Alexander's double tracked vox breathe in and out over a muscular bass line, polyrhythms, mellotron, sax, flute, Korg, and beyond . . .
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The string of releases to follow Common One would serve as companions in staking out a New-Age Celtic spirituality built on channeling legacies as far flung as Jimmy Rogers, Ray Charles, Christmas Humphrey, and L Ron Hubbard. Critical as any of these to Van’s Celtic Guru years was an interpretation of Alice Bailey’s theosophy. The ideas were laid out on Van’s 1980 masterwork, but the seven rays never radiated as brightly as they did on Beautiful Vision . . .
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Radio Free Aquarium Drunkard, every third Sunday on dublab. Up first on our four-hour broadcast, Tyler Wilcox's Doom and Gloom from the Tomb, sliding into Jason P. Woodbury's Range and Basin and Chad DePasquale’s New Happy Gathering. To close the show out, a special airing of an episode from our weekly podcast: a chat with iconoclast, Jim Jarmusch. Tune in Sunday, November 20 from 4-8 PM PST on dublab . . .
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Rather than characterize Baker as the trumpet-wielding James Dean or a playboy jazz rebel, Weber shows Baker for who he was: a deeply flawed man, with bruises and blemishes and all. The contrast between Baker's personality and musicality makes Weber's profile of Baker that much more heartbreaking. How could someone of so few words be so lyrical and poignant in their musicianship? How could someone who lived so crudely play so gently and sing so sweetly . . .
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The previous installment of Diversions found multi-instrumentalist Spencer Zahn diving deep into the sonic world of fellow traveler, Keith Jarrett. This edition finds us in the hands of Kim Åge Furuhaug, who drums for the Norwegian trio Orions Belte. An AD favorite, the group are pulling a proper KISS move ⟨™⟩ this month, each releasing a solo album via a 3xLP box set, making Furuhaug the analogous Peter Criss. As Furuhaug went straight jazz with his offering, we asked the drummer to walk us through its aesthetic DNA . . .
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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 turns this music takes, random as they seem, are never cheap jump-scares. They are developed organically throughout, and Johansen’s crack squad of Norwegian musicians fully commits to them. Somehow they manage to weld spiritual jazz and icy ECM and martial prog and no-wave noise into an improbable, and emotionally stirring, unity. It is one of the most inventive and consistently surprising records out this year, and it might be one of the finest . . .
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The days are growing shorter and the holidays are upon us. In the interest of making everyone's lives slightly easier this season, we returned to the golden era of electric jazz and put together a long compilation of cocktail funk and rare groovers to spin for a house full of family and friends. Press play and let it spin. One less thing to worry about . . .
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Welcome to the final episode of Aquarium Drunkard Transmissions’ 2022 season. We saved a great one for the finale, on this episode we're joined by Kid Congo Powers . . .
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As 2022 winds to a close, we are wrapping up this year’s installment of the Lagniappe Sessions with the Tokyo based artist Takuro Okada. The set finds Okada on the heels of his first album in two years, Betsu No Jikan, which features a heavy murderers’ row of of guest players including Jim O’Rourke, Shun Ishiwaka, Nels Cline, Sam Gendel, and Carlos Niño. No stranger to covers (the LP kicks off with Okada and co.’s transfiguration of Coltrane’s “A Love Supreme”), the following session finds the artist paying tribute to fellow countryman Haruomi Hosono, and . . .
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The group chat is, in many cases, where even the mildest ambitions go to die: Impulsive hiking trips, pickup basketball games, and attempted excursions to see if the live NASCAR audience is “really about that life” have all stalled like so much well-meaning legislation in a complicated bicameral government. Count Fling II — a rewarding new album rooted in spacious, richly synthesized Krautrock firmly on the NEU! side of things — as the rare realization of one of these tossed-off schemes . . .
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