Now available for streaming: Radio Free Aquarium Drunkard's July 2020 broadcast, featuring an opening invocation by AD founder Justin Gage, Jason P. Woodbury's Range and Basin, Tyler Wilcox's Doom and Gloom From The Tomb, and Marty Sartini Garner's Personal Sky . . .
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For the third entry in their Rhythm ’n’ Drone series of one-off improvised recordings, Beijing’s Gong Gong Gong assembled with Danish musicians Anton Rothstein (Marching Church) and Angel Wei Bernild (First Hate). While the Chinese avant-rock duo’s instrumentation is typically limited to guitar and bass, this March 2019 session marked their first time playing with a drummer and percussionist. As with many improv jams, the four musicians start slow, patiently becoming acquainted with each other’s approach . . .
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A conversation from last winter, had on the eve of Gabriel Birnbaum's solo debut. Over some chili and beer, Birnbaum explains his heartworn highway experiences as a working musician; both as the frontman for Wilder Maker and a touring member of Debo Band . . .
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Were Jack Briece's Heterophonious Fool available more widely when it was released, there’s no telling what influence it could have had on electronic music and modern composition . . .
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RFAD lives—again! We're pleased to announce the return of our freeform Radio Free Aquarium Drunkard transmissions via Dublab. Airing as a four-hour block every third Sunday of the month, RFAD on Dublab features Tyler Wilcox’s Doom and Gloom from the Tomb, Marty Sartini Garner’s Personal Sky, Jason P. Woodbury’s Range and Basin, alongside rotating shows and programming from Aquarium Drunkard friends, collaborators, and confidants. Things kick off Sunday, July 19th at 4 PM Pacific Time with a presentation by Aquarium Drunkard founder Justin Gage . . .
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Writer and director Andrew Patterson joins us to discuss his micro budget sci-fi gem The Vast of Night, a movie about two New Mexico teenagers who encounter a mysterious radio signal: "We made a movie about people being inquisitive and curious enough to accidentally get a glimpse of something rare and mysterious, something special . . .
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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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For more than two decades, Johnathon Ford's led the post-rock band Unwed Sailor. In that time, Ford has steered the band—an ever-evolving collective that’s included members of Pedro the Lion, Fleet Foxes, Danielson Famile and more—through a searching string of albums, incorporating the influence of ambient music, shoegaze, new age, math rock, and drone into its body of work, which constitutes one of the great under-recognized discographies in all of indie rock . . .
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Despite a plot that takes place a century ago, nearly every twist of Kyle Barnett’s new scholarly work Record Cultures: The Transformation of the U.S. Recording Industry feels acutely connected to the present. With a big picture historical view, Barnett maps how the unsettled and undefined chaos of American music coalesced into the modern world of record labels and genres with all their racist complexities and romantic myths . . .
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This year has been filled with surprises — most of them not particularly great. But a sneak attack Gillian Welch & David Rawlings covers album? That's the definition of a nice surprise. Recorded live to tape this spring, All The Good Times is warm and loose, as the duo tackles tunes by Elizabeth Cotten, Bob Dylan, Norman Blake and a handful of trad-folk numbers . . .
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The music of French singer-songwriter, troubadour, and multi-instrumentalist Julien Gasc is a perennial gift. Shortly before the world locked down due to Covid-19, Gasc released his third LP, L'Appel de la Forêt. Both a stylistic break and continuation of his evolving muse, we asked our mutual friend Derek Wheeler James to catch up with Gasc, via phone at his home in Toulouse, to discuss the album's aesthetic origins, and more . . .
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On the melancholy, Fripp and Eno inspired “Desert Shore,” Mairesse sings about re-emerging in a place beyond the horizon, calmly repeating the lines “I will disappear/And I will come back.” Sagittaire’s sun-kissed jangle-pop sound shares traits in common with this beachy getaway, with a lush instrumental palette of shimmering vibraphones (“Doo Doo Doo”) and glammy fuzz guitars (“Age of 9 . . .
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"We liked bands like the Mekons or Alex Chilton, that kind of vibrated on that strange frequency where you weren't sure if this was entertaining all of the time, or if the feeling between the band and the audience was more agreeable or adversarial. And that just doesn't scale commercially . . .
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30 minutes on the nose, Jason Joshua and the Beholder’s debut LP Alegría Y Tristeza on his own Mango Hill Records is a quick and effective dose of sultry soul. The Miami-based singer skillfully toes the line between winsome falsetto and raw, reflective tenor, while cruising atop timeless production that occupies a sweet spot between Deep City and T.K. Productions . . .
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Costa y cañón. 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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