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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James Rushford & Joe Talia :: Manhunter

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...emphasizing the desaturated tones of leftfield electronics, drum machines, processed vocals, and less easily identified instrumentation, all of which fuse together into a hypnotic world that one could easily imagine as the soundtrack to the farthest reaches of David Lynch’s Twin Peaks fever dream limbo, the Black Lodge . . .

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Absolute Sons of Bitches: Global Fusion Grooves, 1970-1977

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In the smoking aftermath of Miles Davis's landmark Bitches Brew, musicians across the planet tried to come to grips with its dense, freaky, electric grooves. Aquarium Drunkard scoured the globe to bring you five hours of seismic seventies funk and fusion from far and near. The weather's changing. Nights are growing longer. And this is the way we all keep our heads right . . .

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‘Round About Midnight: A Conversation With Adrian Sherwood

Adrian Sherwood Horace Andy Reggae/Dub The AD InterviewPosted on

We caught up with legendary producer Adrian Sherwood on the heels of his latest effort behind the boards: Horace Andy’s new album, Midnight Scorchers.

"I'm just very, very proud of it. We didn't rush it. We spent two years making it. We started it before lockdown. And we kept improving it, so I was sending Horace back and forth to Jamaica. Let's do this better. Let's do this again . . .

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Small Sur :: The Aquarium Drunkard Interview

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Nearly a decade from the release of Labor, Bob Keal’s Small Sur project has returned with the remarkable Attic Room. Presented is a deeply personal record capturing slivers of life from the father, teacher, woodworker, and songwriter. Keal showcases an ability to take a second in time – “A thundercloud unfolding after the rain,” “I’ll have one last cigarette then lie down to rest,” “the silhouette in space formed by the morning sun” – and expand it into a landscape of abstraction . . .

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Akira Ishikawa & His Count Buffalos :: Uganda (Dawn of Rock)

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According to Mr Bongo, the label responsible for reissuing this manic gem, “Akira Ishikawa was not messing around when he recorded the Uganda (Dawn of Rock) album with his band the Count Buffaloes.” That checks out on our end. Originally released in 1972, following the equally mental (though comparably tame?) African Rock, Uganda is four enveloping tracks, clocking in just under 40 minutes, of deep-fried blues-rock sludge, ecstatic free-jazz abstractions, dizzying African percussion, and psychedelic maelstrom . . .

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