Tony Joe White :: The Real Thang (Deluxe Edition)

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“She had disco sucks on the front of her t-shirt, a longneck bud in her hand…” So sings Tony Joe White on “Redneck Women,” courtesy of his eighth long-player, 1980’s The Real Thang. Core purveyor of the swamp rock amalgam alongside Bobby Charles, Lonnie Mack, Dale Hawkins, and Link Wray, White dropped this eight track album on Casablanca Records at the dawn of a new decade. Disco may have been in the ether, but this is swamp music mutating in real time . . .

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The Sha La Das :: The Aquarium Drunkard Interview

The AD Interview The Sha La DasPosted on

Sometimes a photograph can transport you back in time. On the cover of Your Picture, the second album from Staten Island soul combo The Sha La Das, appears a picture of the family matriarch, Linda. It was the same case with 2018's Love in the Wind. The photos were taken by the 79-year-old Bill Schalda, who fronts The Sha La Das with his sons, Paul, Will and Carmine. Though aged by time, these images present a different world, but one that Schalda says feels as real and immediate to him as the present . . .

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Honey Slides VI :: Shakey Covers

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Slip into the latest edition of our annual mix of rarities and oddities from the far-out reaches of the Shakeyverse. This year, we've taken the opportunity to, er, shake things up with an hour’s worth of weird/wonderful Neil covers stretching from the early 1970s to the present day. A fun listen with plenty of highlights: Paris 1942 (with Moe Tucker on drums!) brutalizing “Revolution Blues,” Human Instinct’s Muswell Hillbillies-esque “Everybody Knows This Is Nowhere,” Winged Wheel’s instrumental flight through “Danger Bird,” Joan Shelley’s gorgeous “Little Wing” … and on and on . . .

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The Lagniappe Sessions :: The Nude Party

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The Nude Party return this month with the release of their latest—and fourth—LP, Look Who's Back. Produced by Michael Rault in the desert at his studio in Joshua Tree, the seven-piece outfit boots up, gets loose, and locks in over the course of the record's nine tracks. Keeping with the vibe, this installment of the Lagniappe Sessions catches up with the band as they pay tribute to 3‑Track Shack era, North Carolina godhead Link Wray, the mutable, perennial gem that is Chuck Willis’s “C.C. Rider,” and the road-worn groove of “Six . . .

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Cat Power :: What Would the Community Think at 30

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By 1996, Chan Marshall had already recorded two lo-fi albums—Dear Sir and Myra Lee—with Steve Shelley and Tim Foljan and moved from her native south to New York City. She had just turned 24 when she holed up at Easley Studios in Memphis to record album number three with the same team, her first time recording in a professional space. And while 1998's Moon Pix would serve as her breakout, this Matador debut captures the wild, raw, unfiltered power of Marshall’s art, an unpredictable electricity that runs through the songs, buzzing and fizzing and threatening . . .

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Wilder Maker :: The Aquarium Drunkard Interview

The AD Interview Wilder MakerPosted on

Songwriter Gabriel Birnbaum’s latest with Wilder Maker, 2025's The Streets Like Beds Still Warm, leans into sophisto-pop shaded indie pop noir, careening from rootsy swagger into bursts of digital space jazz and ambient funk. Birnbaum narrates like a streetwise-type who’s been up way too long, finding warped and engaging hooks around every corner. He joins us to discuss . . .

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Videodrome :: Safe (1995)

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Safe has been called a psychological drama, a social satire, an allegory of the 1980s AIDS crisis, and a meditation on American culture in a post-industrial landscape. More than thirty years after its release, the film’s peculiar themes remain open to interpretation, continuing to invite discussion and debate . . .

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Silvia Tarozzi :: Lucciole

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Lucciole, the latest album from Italian violinist, composer, vocalist, and improviser Silvia Tarozzi, unfolds like a strange existential drama. A richly layered work in every sense—sonically, compositionally, thematically—it seemingly traces the arc of a life in surrealist form while blending chamber folk, classical, and avant-garde sounds. Tarozzi immerses her voice in an environment of strings, horns, guitars, keys, theremin, zither, and sound manipulation, creating something that feels breathtaking alive — the music is radiant, luminous like its namesake . . .

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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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Doopees :: Doopee Time

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An oddity on just about every front, 1995's Doopee Time is a fictional universe crafted by Japanese composer and steelpan drum maestro Yann Tomita. From the depths of Tomita's Audio Science Laboratory, the narrative-based concept album (featuring vocals and spoken vignettes by Buffalo Daughter's Yumiko Ohno) straddles a retro-futuristic line of sparkling art pop originals and innovative, genre-bending covers from the likes of The Ronettes to Pet Sounds closer "Caroline, No". Touching on that Spector production, musique concrète, cosmic jazz and a healthy dose of John Cage composition, Yann Tomita's conceptual vision . . .

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Bandcamping :: Winter 2026

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With the latest Bandcamp Friday hitting on Feb. 6, the time is right to melt the ice of winter 2026 with some fresh and far out sounds. Discover some recent/recommended tunes below.

Shintaro Noguchi & The Roadhouse Band. Nailah Hunter & Alia. Zander Raymond. Hans Chew, Old Saw. Jessica Williams. Jake Xerxes Fussell & James Elkington. The Far Sound. Malombo. Joe Harvey-Whyte & Paul Cousins . . .

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Muriel Grossmann :: Plays the Music of McCoy Tyner and the Grateful Dead

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On a four-track double album, Austrian saxophonist Muriel Grossmann pays tribute to the music of two American visionaries: McCoy Tyner and Bob Weir. Though the music of the jazz pianist and Grateful Dead guitarist would not seem to have much in common, Grossmann’s festive, idiosyncratic renditions suggest some intriguing links. With an ear for robust melody and an open-ended approach, Grossmann has created a moving tribute that suggests the only true way to carry on is to transform . . .

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Have You Heard About the World Coming to an End?

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Released just before Christmas by London’s Death is Not the End label, Have You Heard About the World Coming to an End? is a most welcome compilation of gospel choirs and harmony groups recorded between the late 1920s and mid 1950s. It’s marvelous stuff—raw and scruffy and spirited and cool . . .

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The Clean :: Mister Pop

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While consistency was always a calling card for legendary New Zealand band The Clean, their final record Mister Pop deserves a spot in the pantheon of all-time excellent swan song records. While never feeling a departure from the band's signature guitar pop sound, the record plays out like a swirling homage to the titan influences of the past: from the pure jangly nod to Rubber Soul and Ray Davies playbook to Velvets guitar drones and a pure krautrock experiment. On the eve of a recently announced definitive book on the band and following the tragic passing of the . . .

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Adam Bhala Lough on Deepfaking Sam Altman

Adam Bhala Lough The AD InterviewPosted on

Adam Bhala Lough has made films about capricious characters. See his 2008 film The Upsetter: The Life & Music of “Lee” Scratch Perry, or his 2009 film about Lil Wayne, The Carter, or his 2023 HBO series Telemarketers, about the underbelly of the telemarketing industry. But his new film, Deepfaking Sam Altman, is his most experimental and unusual project yet. Aquarium Drunkard caught up with Bhala Lough to discuss the movie, AI's potential and drawbacks, and why at the end of the day, we replace our humanity with efficient machinery at our own peril . . .

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