Steal my body home. 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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Check out a fantastic documentary that follows Fela Anikulapo Kuti and his huge band/entourage (70+ people!) on their first trip across the European continent in 1981. Things look gray and grimy outside, but once Africa 80 is onstage the world snaps into full, vibrant color, a radical sight/sound the likes of which most of the world had never seen nor heard before . . .
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For All Cylinders, Montreal-based Yves Jarvis (fka Un Blonde) placed bedroom auteurism behind him and went for simpler tunes. The result is a multi-genre odyssey. Where once was a loose attempt at art gospel or chopped-up soul, now there is a conscious, sincere engagement with the classics Jarvis clearly adores—Paul McCartney, Love, Stevie Wonder, and Prince . . .
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Welcome back to Transmissions from Aquarium Drunkard, we're kicking off our 10th season with host Jason Woodbury in conversation with Will Oldham, the man behind Bonnie “Prince” Billy, who appeared on the very first Transmissions interview back in 2016. He returns to Transmissions to unpack and discuss his new country album, The Purple Bird, uploading souls to the Metaverse, guns, and why he'd work with Phil Spector . . .
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Since Ezra Feinberg’s return to making and releasing music at the close of the last decade, he’s been on an unbelievable run. Feinberg’s contributions to our ongoing series of Lagniappe Sessions square the circle of his sound, offering up covers of the shimmering folk-pop vocal group The Roches, on the one hand, and minimalist composer and Philip Glass Ensemble stalwart Jon Gibson, on the other. Feinberg’s gift has always been to endow minimalist process and ambient expansion with a real emotional weight, so the balance here between lovelorn romanticism and new music abstraction seems particularly . . .
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Sam Moss's new LP boasts an exceptional backing band — Joe Westerlund on earthy percussion; Isa Burke on deeply felt lead guitar, violin and banjo; Sinclair Palmer on rich double bass; and Molly Sarlé on haunting harmonies. Jake Xerxes Fussell also pops up to lend a hand on a few tracks. Together, this group creates an extraordinarily intimate sound to surround Moss’s voice and acoustic fingerpicking, whether it’s the steady thump of the title track, the slow way of “Dance” or the somewhat sinister groove of “Lost.” You could slot Swimming into the so-called Americana genre, but . . .
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The documentary’s title Last Date is lifted from an album of posthumous live recordings from a Netherlands radio session in the summer of 1964 (the Dutch trio from the session feature prominently in the film). Just a few weeks later, Eric Dolphy tragically passed after slipping into a diabetic coma during a performance in Berlin . . .
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Composer Harold Budd always resented the term "ambient," with which his music had been saddled since his pioneering collaborations in late 70s and early 80s with Brian Eno. One can imagine the thoughtful, genial Budd being positively exasperated with the even more niche tag "dark ambient." And yet, Budd's haunting and uncharacteristically bleak 1984 album Abandoned Cities was dark ambient before the term existed. One of the lesser-known works in Budd's discography, its synthesizer drones and blighted landscapes seem to speak prophetically to the crisis of our present moment . . .
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Freeform transmissions from Radio Free Aquarium Drunkard on dublab. Airing every third Sunday of the month, RFAD on dublab features the pairing of Tyler Wilcox’s Doom and Gloom from the Tomb and Chad DePasquale’s New Happy Gathering. This month, Chad kicks it off with an hour of broken valentines, with Tyler following it up with some melancholy psych-folk situations. Sunday, 4-6pm PT . . .
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On February 21, psychedelic folkie Ted Lucas' self-titled 1975 cult classic rides again, this time thanks to the folks at Third Man Records. This go-round, an expanded vision of Lucas' visions is offered, with the digital release including four previously-unreleased songs, including the swooning, flute-heavy “Nobody Loves Me Like My Baby Does . . .
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Featuring 50 tracks from his vast recorded archives, 90 presents kosmische pioneer Roedelius at his most intimate. The result is a collection that feels as meditative as it does personal. "Everything came to me as a gift of the moment," he explains, opening up about the genesis of his creative practice and how his songs function like prayers . . .
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In the creative act, is the interaction with others or solitude in a private space more important? While in the past, genius was often described as a solitary artist, distant from society, today more importance is placed on the “creative ecosystem” from which they emerge. The story of Ron Geesin might help to rebalance the issue, highlighting both the collaborative phase and the more secluded one. But could his choice to follow his own path, away from the well-trodden routes, have worked against him in terms of critical reception . . .
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With the promise of spring still a long way off, we’re finding solace in sound. From ambient excursions to garage rock raveups, check out a few recent/recommended releases that will heat up even the chilliest of winter nights . . .
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Horsegirl’s three members were hardly out of high school when they emerged from Chicago’s raucous post-punk scene, a boisterous but cerebral gaggle of youth and precocity unafraid to play with amp feedback and dual guitar tone. Now college age, the trio of Nora Cheng (guitar/voice), Penelope Lowenstein (guitar/voice) and Gigi Reece (drums) whip a bit of air and lightness into their sophomore LP, tapping indie phenom producer Cate LeBon’s way with tipsy agitated sweetness . . .
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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 . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
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