Adrie :: Blind Spot

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On Blind Spot, her second album, Adrie furthers her sound by adding drums and bringing in a sturdier, more refined set of songs. At eight tracks, the material is relatively simple but effective, and sonically reminiscent of the intimacy of the Microphones, the sober psychedelia of Maher Shalal Hash Baz, and the subdued pop tones of the Fates’ Furia . . .

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Isla Craig :: Echo’s Reach

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There’s a lightness, a sort of levitational glow, about Isla Craig’s presence on her new album, Echo’s Reach. Blending her r&b sensibilities with canvases of jazzy chamber soul, knotty art-pop, and rumbling psychedelic dirges, the Toronto-based vocalist takes her piano-led meditations on nature and its wondrous, joining expanse, in unexpected and daring directions . . .

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Ahuja Bello & His Golden Eagles Band :: Late Bobo Doherty (1982)

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Nigeria, 1982. Released the same year as King Sunny Adé’s masterful Juju Music, this incoming medley of highlife-psych jumps in at the six-minute mark of the side-A medley from Ahuja Bello and His Golden Eagles Band’s Late Bobo Doherty . . .

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Alisha Sufit of Magic Carpet :: The Aquarium Drunkard Interview

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Magic Carpet were a London based group that consisted of four members: Alisha Sufit, Clem Alford, Jim Moyes and Keshav Sathe. The band recorded one album in the winter of ‘71-72 on the English based label Mushroom. Influenced by the sitar and other cosmic elements of ancient acoustics, Magic Carpet’s lone debut LP is magical, a poetic journey through space and time. Alisha Sufit of the group joined us to discuss the untold story of Magic Carpet . . .

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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 Grease Band

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Like a dusty ten-dollar bottle of bonded bourbon you didn’t know was in the cabinet, Grease Band is a little bit of countrified heat that’ll sure as hell cure what ails you. It’s a loose, shambolic gem whose ragged swagger and earthy charms sound as good on Sunday morning as they do on Friday night . . .

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Transmissions :: Bedhead

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Today on the show, we are joined by the Kadane Brothers, who founded the pioneering slowcore band Bedhead in 1991 in Dallas, Texas. On this episode of Transmissions, we dig into Bedhead’s history and idiosyncratic approach, exploring how they worked “remotely” and by telephone long before remote work was standard, the space carved out by Bedhead’s unique sound, their cover of Cher’s “Believe,” and much more . . .

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Aquarium Drunkard :: Mailbag, Vol. II

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Long time reader, first time caller? Welcome to Mailbag, our new monthly column in which we dig in and respond to your questions. Got a query? Hit us up at aqdmailbag@gmail.com.

In this month's bag: The importance (?) of hi-fi. Local LA surf breaks. On-U Sound dub stylings. European copyright and live recordings. And lastly, nagging earworms . . .

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Okay Temiz / Johnny Dyani :: Witchdoctor’s Son

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A mind meld of epic proportions, in 1976 Turkish jazz percussionist Okay Temiz and South African pianist, bassist, and vocalist Johnny Dyani teamed up for Witchdoctor’s Son. Sharing original compositions, a Don Cherry cover, and re-arranged traditionals from their respective homelands, the pair deftly fuse the material into wild, free jazz freakouts . . .

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Bert Jansch :: Bert At The BBC

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The highlight of this exhaustively curated set are the performances which allow us to listen in to a full concert or series of tunes. It is here that we experience Bert’s crowning achievement—the temporal transcendence of music consciousness. From one song to the next Jansch could transport his audience to 1930’s Mississippi, the court of King James, or a 1974 folk club in Soho without missing a beat . . .

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Jeff Parker :: Mondays at the Enfield Tennis Academy

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Jeff Parker has had quite a year, but he may have saved the best for last. Mondays at the Enfield Tennis Academy, released by Eremite Records last month, offers up four sidelong pieces recorded live in Los Angeles over the past few years. Here, we get to eavesdrop on Parker, bassist Anna Buttterss, drummer Jay Bellerose and saxophonist Josh Johnson in full freedom flight. It’s an uncommonly intimate live recording — the players seem to be extremely at ease in this small club setting . . .

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Horse Lords :: Comradely Objects

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Horse Lords’ previous record The Common Task appeared on March 13, 2020. Two days later, the whole world began to close. The erstwhile Baltimore quartet (three of the members now live in Germany) returned this month to a world changed, but certainly not changed enough. The radical music on Comradely Objects speaks directly to our historical predicament: Horse Lords erect seemingly stable musical systems which they force to undergo transformation in spite of themselves . . .

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Robyn Hitchcock :: The Aquarium Drunkard Interview

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“My songs are my true autobiography—it’s all in there, if you know where to look.” If that’s the case, the latest chapter in Robyn Hitchcock’s story is the brand-new SHUFFLEMANIA!, the songwriter’s first full-length LP since 2017. Released on his own Tiny Ghost Records label, it’s a star-studded affair, with guest appearances from Emma Swift, Kimberley Rew, Johnny Marr, Brendan Benson, Pat Sansone, Eric Slick, Sean Ono Lennon, Morris Windsor and more, all adding their skills to a very strong collection of new Hitchcock tunes. To get the scoop, Aquarium Drunkard . . .

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Kraus :: Fire! Water! Air! Kraus!

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Fire! Water! Air! Kraus! is the Auckland outsider musician's 19th album, and of the nine we've heard, the most fully realized rhythmically and melodically. Here, Kraus mostly abandons the guitar and emphasizes electronics, tipping his hat toward Mort Garson's occult Moog classic (as Ataraxia), The Unexplained . . .

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Pneumatic Tubes :: A Letter from TreeTops

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Released by Ghost Box, known for library music and esoterica-informed releases by Broadcast, The Focus Group, and more, Pneumatic Tubes' A Letter From TreeTops finds Mercury Rev and Midlake contributor Jesse Chandler pulling together strands of impressionistic Vince Guaraldi jazz, public information film soundtrack zones built on reeds, flutes and synths, and hazy cosmic Americana . . .

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