Videodrome :: Near Dark (1987)

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In retrospect, Near Dark has endured amongst horror aficionados as one of the most eminent genre-hybrids ever made for many reasons: the kinetic pacing that mixes art-house ambiance with multiplex populism, the seamless blending of outlaw-western with vampire-horror, and the synth-soaked score from Tangerine Dream. But Near Dark's under-discussed ace-in-the-hole is that it's a horror film that handles exposition with the utmost confidence and grace . . .

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Dead Notes #16: The Dead Tape Collector (Mark A. Rodriguez) Interview

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Dead Notes is back—kinda, sorta. Though our normal column remains on hiatus, we had to fire things back up for a talk with Mark A. Rodriguez about his new book of Dead art, After All is Said and Done: Taping the Grateful Dead 1965-1995 . . .

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Transmissions :: Clem Burke of Blondie

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This week on our weekly interview podcast, a wide-ranging interview with Clem Burke of Blondie. He joins us to discuss the band’s early years, interactions with luminaries like Robert Fripp and Giorgio Moroder, the fashion forward cultural shift, and Numero Group’s monumental box set collection, Blondie: Against The Odds 1974-1982. A game conversationalist, Burke brings a quick wit and sharp intellect to this chat, which traces the group's evolution, early days, and his work as a case study documenting the physical condition of drummers . . .

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Jairus Sharif :: Water And Tools

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There’s a moment halfway through “Humility,” the opening track on Jairus Sharif’s Water and Tools, that sounds like the skies opening up. Where harsh, metallic ripples of cold electronic synths were rumbling, the renegade, proclamatory exaltation of Sharif’s saxophone suddenly takes on a warmer, less defiant tone. And the backdrop, too—bright, wooly synths and avian chirps—feels like the arrival of spring as Sharif’s horn elevates with undulating keys—the music pure, joyous, and untethered . . .

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The Lagniappe Sessions :: Sagittaire

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For his first Lagniappe Session, the musician who named his debut album after Robert Ashley’s record label surprised no one by selecting a pair of deep cuts to reinterpret. The Necessaries’ “More Real” receives a dubby deconstruction with Mairesse stepping in for Arthur Russell, while his cover of Leslie Winer’s “John Says” is a welcome introduction to the musician and poet called “The Godmother of Trip Hop” by John Peel . . .

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Cactus Lee :: Perfect Middle Hall

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Cactus Lee, our dear, enchanting nine-to-five troubadour, drops his most recent release, Perfect Middle Hall, on vinyl this week. It's a perfect format for enjoying this one—a tight, cozy six-song cycle of Kevin Dehan’s woolen, lo-fi folk, which introduces a more full-bodied richness into the sonic palette . . .

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Matthew J. Rolin :: Passing

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The second of Rolin’s two solo outings issued in physical format this year, Passing marks a slight shift in feel and perspective. Where Sea of Stars (released back in May) was an expansive, kaleidescopic cascade of dexterous twelve-string, Passing is more fragmented and hermetic in nature, though no less encompassing . . .

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Radio Free Aquarium Drunkard :: October 22

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Radio Free Aquarium Drunkard, every third Sunday on dublab. Up first on our four-hour broadcast, Chad DePasquale’s New Happy Gathering, with chilly winds of gospel, country, soul & folk. Then, Jason P. Woodbury takes over with Range and Basin, synth folk, Spanish psych, jazz, and piano meditations. Then, Tyler Wilcox pops in Doom and Gloom from the Tomb, with an hour of Robyn Hitchcock deep cuts, demos, rarities, b-sides and live material spanning his entire career. And to close, Autumn Sweater, woodsmoke, buffalo check and the crunch of broken pine needles underfoot. Tune in Sunday, October 16 from . . .

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Bill Laswell Research Institute: Vol I & II

Bill Laswell MixtapesPosted on

The Bill Laswell Research Institute was coined by a group of like-minded record heads based in Philadelphia. Time and time again, someone in the crew would bring something mind blowing to a listening session and Bill Laswell’s name would pop up in the credits. It’s truly astonishing how Laswell collided with vastly divergent musicians and genres while somehow still representing complementary musical spheres.

While pulling together tracks to compile a mix that we felt would best represent Bill’s work, we realized it was going to take multiple volumes due to the sheer magnitude of his output . . .

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Brian Harnetty + Thomas Merton :: Words and Silences

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Pairing musings of Cisteritan monk and writer Thomas Merton, recorded alone at his Kentucky hermitage in 1967, with magisterial modern classical compositions, Brian Harnetty's Worlds and Silences, offers, to quote Merton, "the right kind of complexity...a subdued and deep awareness that everything is perplexed . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, 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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Aquarium Drunkard :: Mailbag, Vol. I

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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. This month: live '69 Neil Young, '80s Dead, some Hamburg, Germany finds, and the current state of 'new age' music . . .

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Joe Walsh :: Barnstorm (1972)

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Though the intention of Dunhill Records was to establish Walsh as a bonafide solo artist, Barnstorm operated as a highly collaborative entity, with Walsh, Vitale and Passarelli contributing tunes, swapping instruments and sharing vocals. The resulting record is a loosely thematic set that never struggles to hold itself together - a rare 70s rock LP that embodies all of the characteristics that make it of its time while transcending them all . . .

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Transmissions :: The Comet Is Coming

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This week on the show, Danalogue (Dan Leavers), Betamax (Max Hallett) and Shabaka Hutchings, known collectively as the improvisational crew The Comet is Coming. They join us to discuss Hyper-Dimensional Expansion Beam, the apocalypse, AI, improv tactics and more . . .

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Chuck Berry :: Concerto in B Goode

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Recorded in his Missouri home studio, Concerto In “B. Goode” remains one of Chuck Berry's spookiest and bleakest records. Disavowed by some involved in its creation, it remains a haunting and vital listen . . .

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