Posts

Videodrome :: Lucky Three (1997)

Elliott Smith VideodromePosted on

For fans of Elliott Smith, watching Lucky Three feels like visiting with an old friend that you haven’t seen in a while, all the while knowing that they’re going to leave you again, all too soon, and without saying goodbye. True to Jem Cohen’s filmmaking style, Lucky Three is neither a performance film nor a documentary. Its interest is not in narrative nor editorialization. If anything, Lucky Three is an intimate portraiture of Smith simply being, existing in his natural habitat of Portland’s late-autumn charcoal skies and rainy streets . . .

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.

To continue reading, become a member or log in.

Posted on Elliott Smith Videodrome

Fruit Bats :: The Aquarium Drunkard Interview

Fruit Bats The AD InterviewPosted on

The Landfill sonically demonstrates Eric D. Johnson’s strength as a leader and commanding presence, accompanied by a full band for the first time in a few Fruit Bats’ records. In the days following the album's release, during the early days of bringing the songs on the road, AD spoke to Johnson about adopting a share-but-shroud songwriting style as his career continuously progresses, the influence of Michael Hurley and reflections on this being his most collaborative body of work under the Fruit Bats name . . .

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.

To continue reading, become a member or log in.

Posted on Fruit Bats The AD Interview

National Park :: Outside

National ParkPosted on

The brainchild of veteran Scottish musician John Hogarty (The Pastels, Telstar Ponies) from Glasgow's storied guitar-pop underground, outside marks the hybrid archival/modern debut of National Park. Collecting rare previously released singles and new home recordings, Hogart's collective outfit churns out glorious Velvets-inspired guitar dirges, at times in a vein not unlike American counterparts from the band's original nineties run like Acetone and Galaxie 500 . . .

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.

To continue reading, become a member or log in.

Posted on National Park

Julia Holter :: Materia

Julia HolterPosted on

Julia Holter revisits old ideas and pushes them forward on Materia, opening up and extending them in a liberated direction. The EP captures the sound of a composer still entranced by the sounds she thought she’d finished—refining, reworking and reinterpreting her music in new ways . . .

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.

To continue reading, become a member or log in.

Posted on Julia Holter

Chet Baker :: Daybreak (Jazzhus Montmartre, Copenhagen, Denmark, 1979)

Chet Baker JazzPosted on

There is something uncanny about late-career Chet Baker. In Europe, the mythology receded, leaving room for something stranger: space, spontaneity, and 48 minutes of suspended time on Daybreak, recorded live at Copenhagen’s Jazzhus Montmartre in 1979 . . .

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.

To continue reading, become a member or log in.

Posted on Chet Baker Jazz

The Grateful Dead :: Fillmore Auditorium, San Francisco, CA (7/3/66)

Grateful Dead Jerry GarciaPosted on

A curious — and fascinating — listening experience. In some ways, the band is almost unrecognizable. Tempos are decidedly fast paced, even on laments like “He Was A Friend Of Mine.” Some tunes are dominated occasionally by the garage-y buzz of Pigpen’s Vox Continental organ. Vocals aren’t fully figured out yet. The Dead in the summer of ’66 was one of many similar Bay Area groups, wearing disparate influences on their sleeves, figuring things out, operating in a space where the rulebook hadn’t really been written. They were also first and foremost a dance band, which partly explains . . .

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.

To continue reading, become a member or log in.

Posted on Grateful Dead Jerry Garcia

Shearwater :: The Aquarium Drunkard Interview

Shearwater The AD InterviewPosted on

While his band Shearwater shares its name with a seabird, Jonathan Meiburg's latest album has us thinking about The Birds—the 1952 short story Daphne du Maurier famously-adapted by Alfred Hitchcock. Meiburg's forays in ornithology and climate change are well-documented, and his musical projects reflect the feelings of those concerned about the influence and future of humankind. It is not heavy handed sloganeering, but nuanced and beautiful. The Romantic result of deep study and research . . .

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.

To continue reading, become a member or log in.

Posted on Shearwater The AD Interview

Transmissions :: Fred Thomas

Fred Thomas PodcastPosted on

Welcome back to Transmissions with Jason P. Woodbury. This week on the show, another talk that spun out of our Big Ears hang out, a conversation with a journeyman musician Fred Thomas. Even if you don’t know Thomas’ name, you’ve heard him: In the ‘90s, he was responsible for the math rock band Chore; from there, he joined up with Warren Defever’s genre bending indie rock outfit His Name Is Alive, alongside groups like Lovesick and his own band Saturday Looks Good To Me, who melded Detroit R&B and soul to twee indie pop.  From pre . . .

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.

To continue reading, become a member or log in.

Posted on Fred Thomas Podcast

Nina Winder-Lind :: Wild Love

Nina Winder-LindPosted on

On Wild Love, Nina Winder-Lind distills the elemental force of New Eves into an intimate, guitar-led set exploring artistic inheritance, self-discovery, and liberation. Deeply personal and quietly defiant . . .

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.

To continue reading, become a member or log in.

Posted on Nina Winder-Lind

Black Rock :: The Bar-Kays at Wattstax

The Bar-KaysPosted on

Known for their Stax/Volt session work and backing the likes of Isaac Hayes and Otis Redding, catch a glimpse of this electric set of Memphis-based The Bar-Kays at 1972's iconic Wattstax festival. Self-dubbed "Black Rock" like the name of their 1971 album the year prior, the band's guitar-driven slab of heavy funk in the Sly/Funkadelic vein is powerfully captured both in the concert's double album soundtrack and in the Mel Stuart-directed Wattstax film. "A convergent point between, soul, funk and rock 'n' roll", as Stax retrospectively identifies such eclecticism . . .

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.

To continue reading, become a member or log in.

Posted on The Bar-Kays

Akusmi :: Terra Incognita

Akusmi JazzPosted on

On his second album as Akusmi, Pascal Bideau mostly jettisons the short interlocking patterns of his earlier work for a wealth of wider, more colorful and free-ranging compositions. Working with several international musicians and a staggering array of eclectic instruments, Bideau has made a wide-ranging, expertly blended and comfortably eccentric album of streamlined world jazz. The territory he's exploring might not be totally unknown, but the unfamiliar and unexpected has never sounded so approachable . . .

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.

To continue reading, become a member or log in.

Posted on Akusmi Jazz

Sofie Birch :: Bivabippabualukka

Sofie BirchPosted on

Sophie Birch’s Bivabippabualukka sounds like it was made somewhere beyond the reach of trends. Blending cassette-warped guitar, birdsong, synths, zither, Rhodes, and other fragments of the natural and unnatural world, Birch makes a strange, radiant music . . .

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.

To continue reading, become a member or log in.

Posted on Sofie Birch

Radio Free Aquarium Drunkard :: August 2026

Radio Free Aquarium DrunkardPosted on

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, Tyler kicks things off with some sweet new digs for August and Chad follows it up with an hour of psychedelic sounds, along with some fuzzy and experimental moments. Sunday, 4-6pm PT . . .

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.

To continue reading, become a member or log in.

Posted on Radio Free Aquarium Drunkard

Allah-Las :: Sirenas

Allah-LasPosted on

On their sixth record, Allah-Las embrace a fully instrumental template that oscillates with hypnotic, rhythmic textures and soft ambient currents. Wrapped in the ambiance of aquatic soundscapes, the grooves channel atmospheres where sundowns meet blurred, gauzy perceptions. With references to the likes of English electronic duo Ultramarine and The Durutti Column's Vini Reilly, the free-wheeling pathways of Sirenas offers a fascinating pivot that leaves the door open for boundless transmissions . . .

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.

To continue reading, become a member or log in.

Posted on Allah-Las

Don Cherry & Okay Temiz :: Music for Turkish Theater 1970

Don Cherry Jazz Okay TemizPosted on

In 1969 Istanbul, James Baldwin brought Don Cherry and Turkish percussionist Okay Temiz together to score Fortune and Men’s Eyes, a controversial play about gay love in an Istanbul prison. The resulting music—a hypnotic, unruly weave of drums and flutes, somewhere between free jazz and a fever dream—vanished for more than 50 years. Now, Caz Plak has finally unearthed it . . .

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.

To continue reading, become a member or log in.

Posted on Don Cherry Jazz Okay Temiz