Some strange rain. 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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Hiroshi Asada's Greetings From Nashville (You Who’s In My Mind) turned 50 this year, the artist's expressive aural love letter to Country Music and America. Spoken of reverentially by fans and artists from Japan and beyond, the LP was cut in Nashville at the Acuff-Rose studio with a grip of the industry’s most in-demand session players including members of Nashville’s Area Code 615 . . .
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Spanning two decades and four LPs, Unravelled cherry picks 55 highlights from the dynamic DIY duo of Chris Knox and Alec Bathgate, showcasing a vast galaxy of anything-goes musical creativity . . .
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Today on an all-new episode of our weekly interview podcast: Steve Marion, better known by his recording name Delicate Steve. He joins us to discuss his naturalistic new record After Hours, Kanye West, Leonard Cohen and more . . .
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Fire music of the highest order. Heart of the Ghost’s Summons kicks off with a cry of wild abandon: “Wooooo!” And then we’re off, with Jarrett Gilgore (alto and soprano sax), Luke Stewart (upright bass) and Ian McColm (drums and percussion) converging in a flurry of densely packed sound, each player racing to the finish line. Or maybe “racing” isn’t quite the right term. There’s no sense of competition here. This trio — even in their stormiest moments — is moving as one, displaying extraordinary interconnectedness throughout the album’s four tracks . . .
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Glad tidings — we are soon to receive more archival sounds from the now immortalized Penny & The Quarters, via Numero Group’s forthcoming Penny & The Quarters & Friends—a new compilation of 1970 rehearsals from The Prix label gang. “Will I Ever”—the first taste from the autumn bound collection, is a stunning ballad pairing Penny & The Quarters sorrowful and nostalgic harmonics with Robinson’s eerily saccharine but ever-tortured soul . . .
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If time is a flat circle, the members of Oneida have figured out how to toss it like a frisbee. Nearly a quarter century since their debut album, the avant-rock quintet have returned with one of the most straightforward, riff-heavy records in their vast discography: Success. Bobby Matador and Kid Millions join us to discuss the record, the band's history, and the Grateful Dead . . .
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Two bass guitars, a violin and the ethereal vox of Mimi Goese. Released in 1988,on Brian Eno’s label, Opal Records, and produced by Michael Stipe, Drum succeeds in sounding out of time. Autumnal, haunted, and more akin to incantation than album, its nine tracks exist on a plane of twilight ambience. Restraint and minimalism as aesthetic . . .
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Removed from the psychedelic rock and baroque pop that helped Sanullim take Korea by storm in the late 70s, “Don’t Go" is all astral-funk and disco spunk.
Landing somewhere between the Stones’ “Emotional Rescue” and the Buckaroo Banzai theme song, it’s an intergalactic boogie serving dance floors and rocket ships alike . . .
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Welcome back to the stacks. It’s Aquarium Drunkard’s Book Club, our monthly gathering of recent (or not so recent) recommended reading. This month: false prophets, monsters of various mental planes, and bad trips. Reports from the frontlines of the late 1960s jazz avant-garde. The ritual zen of fly fishing. A slice of alternate history, and one cursed bunny . . .
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Tokyo Drifter is undoubtedly a pop film, and like the greatest pop songs, its limitations birthed its originality. Despite a muddled script adapted from pop-song lyrics, a meager budget, and a draconian studio system, Suzuki managed to outmaneuver his dire circumstances, producing a film that was even more glossy and fashionable than if he had twice or triple the budget and time. It's pure spectacle for the sake of spectacle, an idiom of sixties pop culture that - like any great pop chorus - invites you to sing along with it . . .
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Radio Free Aquarium Drunkard is floating in through the window every third Sunday on dublab. It’s late summer and we’re swimming in it. Up first on our four-hour broadcast, Chad DePasquale’s New Happy Gathering, with torrid August tides of psychedelic rock, post-punk & DIY pop. Then, Jason P. Woodbury takes over with Range and Basin, dropping synth minimalism alongside sophisti-pop and spiritual epics. Then, Tyler Wilcox pops in Doom and Gloom from the Tomb, offering a selection of sweet new sounds from 2022. To close, Jarrod Annis with Ephemeral Frequencies, a hazy hour of dubbed . . .
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On the heels of his latest and seventh long-player, This Is A Photograph, we caught up with Kevin Morby to discuss Memphis, Butterflies, and his appreciation for someone who died 25 years ago. Hallelujah! Hallelujah . . .
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For his debut Lagniappe Session, Eli Winter applies his solo guitar to a set of songs by Don Cherry and Ed Blackwell, Maria BC, Judee Sill, and Karen Dalton . . .
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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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