Drifting outward and outward. Radio Free Aquarium Drunkard on dublab returns for its regular third Sunday broadcast on December 19 from 4-8 PM. We've got holiday groovers, Range and Basin and Doom and Gloom From the Tomb, and the International Anthem 2021/2022 Retrospective/Futurespective . . .
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Stanley Kubrick's final film is also his most polarizing. It's been called his best and his worst, his most cryptic and his most mismanaged; an erotic thriller, a psychosexual drama, and a paranoid thriller. But is Eyes Wide Shut a Christmas film . . .
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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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Here it is: our Year In Review 2021. Unranked and sprawling as always. A guide to the music that stuck with us throughout another strange year . . .
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The retrospective box set Kid A Mnesia released last month reunites the two albums recorded during these sessions, Kid A (2000) and Amnesiac (2001), along with a cassette of B-sides and a disc of alternates and outtakes. For the faithful, it’s a long-awaited valediction of the band’s most creative and far-reaching period. For the uninitiated, it also offers a perfect place to start. After October 2000, the band was never the same again. Kid A Mnesia is the sound of the band we talk about when we talk about Radiohead being born . . .
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The latest Neil Young & Crazy Horse record, Barn, was indeed recorded in a barn, high in Colorado’s Rocky Mountains. Mostly captured live, it’s the band at its most elemental and warm, the sound of four old friends who still love making a racket together. Aquarium Drunkard hopped on Zoom with Lofgren recently to get his insight into what makes Young and the Horse tick, even after all these years . . .
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Captured in June of 2020, prior to L.A. opening back up, Ty Segall's absolute incendiary one-man band session at Zebulon in Frogtown. The incredibly tight 30 minute performance finds Segall working up a strange alchemy against pre-recorded backing tracks, recontextualizing seven nuggets from his catalog . . .
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For this installment of Diversions we caught up with Beach Fossils’ Dustin Payseur on the heels of his project’s new lp, The Other Side of Life: Piano Ballads. A stylistic turn, this latest work grew out of the artist’s love for Lester Young, Chet Baker, Bill Evans and Coleman Hawkins – specifically their ballads. As such, we caught up with Payseur to discuss these influences, and how their work plays into the vibe of the new album . . .
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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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We recently caught up with Emil Amos to discuss Neil Young, Wu Tang, the upcoming season of Drifter’s Sympathy, the vinyl manufacturing crises and the shadowy history of his father’s friendship with David Crosby . . .
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For his third Lagniappe Session (counting two with OMNI), Frobos digs into Lou Reed’s Berlin, along with the ’77 Lust For Life gem, “Tonight”, via Iggy Pop’s hyper-creative stint in the city . . .
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One of the many fabricated genres used to classify the music of Japan’s Miroque is “toy sentimentalism.” That feels like an accurate enough description for the pianist and electronic composer’s 2001 album, Botanical Sunset, freshly reissued by Slow Editions . . .
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Lucky number 13. Welcome back to Pretty Good Stuff: Dylan historian James Adams’ semi-regular hour-long program diving deep into the depths of all things Dwarf Music. This episode is strictly comprised of performances from the last tour of songs from the latest album, Rough and Rowdy Ways . . .
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With a much-anticipated full-length release slated to drop next year, Color Green primes the pump with a pair of singles that trade dusty boots and ponchos for a little worn denim and rhinestone—and everything’s still comfy as hell . . .
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Released in May 1982, Urgh! A Music War is one of the most salient artifacts from the musical movement that would later be dubbed “new wave.” Clocking in at just over two hours and featuring over thirty live performances, the anthological concert film showcases artists in their prime as well as their infancy . . .
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