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SOYUZ :: KROK

SOYUZPosted on

Tracked live to tape at Sessa and Biel Basile’s São Paulo studio, Krok captures the Belarusian outfit in a moment of transition, stretching the sinewy tendrils of their earlier work into something more expansive and self-possessed. Where their previous LP steeped itself in the gentle saudade of Brazil’s Clube da Esquina, Krok pulls the lens back as the palette broadens and horizons turn transcontinental . . .

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Самцы Дронта :: Самцы Дронта

Самцы ДронтаPosted on

Hailing from Izhevsk, Russia, Samsti Dronta (English translation: Male Dodos) played their first live gig in that fateful year 1991. By all accounts they inhaled contemporary Western influences like Cocteau Twins, This Mortal Coil, and Dead Can Dance. They excavated sounds from industrial materials such as sheet metal and glass. The output from these experiments could have resulted in something harsh, but the sharp edges are balanced with gauzy and beautiful moments . . .

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Bill Fay :: From The Bottom Of An Old Grandfather Clock (A Collection Of Demos And Outtakes 1966-1970)

Bill FayPosted on

If you blinked, you might have missed it. Dead Oceans quietly re-released From the Bottom of an Old Grandfather Clock last December—a twenty-five-track journey through Bill Fay’s back pages, loaded with demos and long-forgotten outtakes. Having largely disappeared from public life after the release of 1971’s Time of the Last Persecution, only to reemerge in a quietly triumphant late-career renaissance in 2012, the collection stands as a worthy and necessary addition to the English singer-songwriter and pianist’s enduring oeuvre . . .

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Stephen McCraven :: Wooley The Newt

Jazz Stephen McCravenPosted on

Originally released on Marion Brown's Sweet Earth imprint in 1979, Wooley The Newt is a true lost spiritual jazz relic from percussionist and composer Stephen McCraven. Resurrected in a limited capacity by British reissue label Moved-By-Sound at the tail end of last year, the record was sampled by Stephen's son Makaya on his 2020's reimaging of Gil Scott-Heron's I'm New Here. Recorded in Paris and more than long overdue, it's a fascinating relic of seventies avant-jazz and a lost bandleader debut of the utmost artistic craft . . .

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Lala Lala :: Heaven 2

LaLa LaLaPosted on

Heaven 2 is a road album of sorts, where the Chicago songwriter breaks out for fresh territories. Whether toward or away from something is anybody’s guess. What keeps things real, what keeps them compelling, is the cigarette-ash astringency of LaLa LaLa’s central melodies. No matter how far she drives from the big city, her songs will, perhaps, always have a tough urban grit to them . . .

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John Renbourn :: Live In Kyoto 1978

John RenbournPosted on

Recorded during the second of two nights John Renbourn played at Kyoto’s Jittoku Coffeehouse, Live in Kyoto 1978 captures the guitarist in a moment of intimacy and precision. Poised and unhurried, the set finds Renbourn relaxed, patiently threading his repertoire before a hushed, attentive room. A baker’s dozen, these recordings were captured on site by audio archivist Satoro Fujii and unearthed forty years later in 2018 via Drag City . . .

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Tucker Zimmerman: In Memoriam (1941-2026)

The AD Interview Tucker ZimmermanPosted on

On January 17, 2026, the world lost the great Tucker Zimmerman and his wife of more than fifty years, Marie-Claire, to a house fire in Liege, Belgium. He was 84 years old. Though born in the United States, he had been a resident of Europe since 1966. A novelist, poet, folk singer, classical composer, & electronic musician, Zimmerman had a deep and restless career with more than a dozen albums to his name. However, because of his status as an expat, he was largely overlooked in his birth country for most of his lifetime . . .

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Posted on The AD Interview Tucker Zimmerman

Radio Free Aquarium Drunkard :: February 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 it off with a mix of recent instrumental favorites, and Chad follows it up with a Valentine’s mix — broken, belated, and bewildered! Sunday, 4-6pm PT . . .

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The Elegance of Longing: Prefab Sprout’s Steve McQueen and Jordan: The Comeback

Prefab SproutPosted on

There are albums that shimmer with impossible ambition, records that sound like they were beamed in from some parallel dimension where pop music never surrendered its claim to sophistication. In the mid-to-late 1980s, while synthesizers ruled the airwaves and production grew increasingly bombastic, Paddy McAloon was writing songs of such disarming tenderness and linguistic agility that they seemed to exist outside time entirely. With Thomas Dolby’s production expertise, Prefab Sprout created two albums – Steve McQueen in 1985 and Jordan: The Comeback in 1990 – that stand as monuments to what pop music can achieve when intelligence and emotion . . .

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Tommy Hendrix :: Out Of The Mist (1958)

Jazz Midnite Jazz Tommy HendrixPosted on

Out Of The Mist (1958) is the lone trace of Tommy Hendrix, a cool-jazz crooner whose biography begins and ends with a solitary release. It’s an obscure album lost to time by an artist who seemingly never existed. Tommy Hendrix is a midcentury ghost, and Out Of The Mist is the sound of his specter briefly passing through our dimension, like a puff of cigarette smoke lingering in a cocktail lounge that nobody has ever set foot in . . .

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Apparat :: A Hum of Maybe

ApparatPosted on

For the last two and a half decades, Apparat’s Sascha Ring has been moving from austere, minimalist techno towards a lusher, though still beat-driven sound. A Hum of Maybe continues this trend, its pulse softened with pensive piano, trombone and fluttering voices . . .

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Momoko :: Momoko Gill

MomokoPosted on

“No Others” lurches and glides, its stuttering rhythm anchored by acoustic bass and skittering snare, its vocal melody light and fluid. The London-based Gill taps into bossa nova, tropicalia and fusion jazz on this and other tracks, blowing out phrases as iridescent as soap bubbles over hip-grinding, body-moving cadences. This first single from the multi-instrumentalist and composer is layered but unencumbered . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PST, Channel 35)

SIRIUSPosted on

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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Wet Tuna :: Vast

Wet TunaPosted on

The musical and psychic evolution of Matt “MV” Valentine traces a wide-ranging and gloriously unwieldy trajectory through sound and space for those intrepid enough to follow it. Spanning the earliest days of Tower Recordings, a bevy of solo albums, one of the most exhaustive and rewarding live recording archives you can dig into, and twenty-five years copiloting the fantastic voyage of MV&EE, Valentine has never stopped pushing the music outward and onward. And it doesn’t get any farther out than the freewheeling funkified flights of Wet Tuna . . .

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The Beach Boys :: We Gotta Groove – The Brother Studio Years

The Beach BoysPosted on

There is something undeniably miraculous about We Gotta Groove: The Brother Studio Years. Here, after nearly half a century, is not just a presentation of some of the strongest, strangest music Brian Wilson would ever record, but a celebration of it. In the late 1970s, many of these songs were dismissed out of hand as the work of a diminished artist, a man irrevocably changed by years of milkshakes and mental anguish. This reading was not entirely incorrect: the Brian of 1977 was indeed a different person. But as an artist, he was in full flower—more truly himself than . . .

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Posted on The Beach Boys