Broadcasting 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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On his second album as Ghost Dubs, German producer Michae Fiedler pares his beats and grooves further back, reducing his already minimal palette to the stark rhythmic and textural fundamentals. But the tracks on Oblique resist the remoteness of some ambient dub — they might be skeletal, but they’re not bare-bones . . .
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This week on Transmissions, we're speaking with return guest Joe Casey of Protomartyr. The band's new album, Hotel Usona is a timely meditation on our empire in decline but also a document of defiance and even a kind of hope. Check in, tune out . . .
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No retreat. No surrender. Filmed at the Berliner Jazztage on November 4, 1978, with Tony Allen still at the kit, this 87-minute document captures Fela Kuti and Africa ’70 at the end of their Herculean run. Unearthed decades later, the tapes capture the collective’s internal chemistry intact at the very moment its future was set to fracture . . .
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A Continuous Broadcast from Aquarium Drunkard.
Hand-curated. No playlists. Nothing to scroll. Nothing random. Everything intentional.
Transmitting from the hills of Northeast Los Angeles, Radio Free Aquarium Drunkard is a free, always-on radio station. Press play and you’re tuned in to what’s on the air right now, alongside everyone else. The broadcast continues and tracks advance whether or not you’re listening.
The app is free, but requires an active Apple Music subscription. All tracks powered via Apple Music.
James Barnes is the guru/architect. Justin Gage is the selector.
Tune in to an old new way to Listen . . .
Mid-October approaches, and the owls are not what they seem. The best records belong to a particular hour, season, or state of mind. The soundtrack to David Lynch’s Twin Peaks: Fire Walk with Me seems to exist just beyond all three, somewhere between the last light and whatever waits after dark . . .
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Jazz grip. Booker Stardrum’s work spans solo recordings, electronic experiments, and collective improvisation. In 2026, he’s released his fourth solo album, Close-up On The Outside, alongside new records with Play Time, OOPS!, Silk Fence, and SML. We spoke with Stardrum about his compositional process and the challenges and possibilities of working across so many different musical settings . . .
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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 a grab-bag of folk jazz and dream pop; Chad follows it up with an hour of Senegalese folk, Malian funk, Malaysian jazz, Filipino psych & more. Sunday, 4-6pm PT . . .
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No one is making music quite like PAINT, the project of musician and Allah-Las guitarist Pedrum Siadatian. If a song title can be prophetic, it's "Illusion of Voice" here, in which the vocals of real and hypothetical cast of ensemble characters and collaborators weave through a shadowy labyrinth full of twists of surrealistic transparency. From police blotter audio soundscapes to warbled poetry reads, fourth record Whip of an Ear is an obtusely captivating listen and one of the prolific musician's best offerings yet . . .
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Piero Umiliani’s Il Corpo is the sound of something beautiful beginning to sour. Released in 1974, the soundtrack finds the Italian composer in familiar aesthetic territory, where jazz, funk, psychedelia and library music bleed into one another. Sunny music for shady people, it embodies the anything-goes spirit of Italian library music, spinning a parallel film from grooves, fuzz and atmosphere . . .
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Hippies, Thugs, and Heroes finds guitarist Richard Thompson sounding as savage, lyrical, and eloquent as ever. This week on Aquarium Drunkard Transmissions, we're pleased to welcome Thompson back to the show. If you dig Transmissions, there’s a pretty solid chance that you already know that he's one of the founding fathers of British folk rock, known for his work with Fairport Convention, Sandy Denny, his former wife Linda Thompson, Nick Drake and others . . .
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Beefheart & McQuinn’s Midtown Downtime arrived earlier this year as a ten-song distillation of folk-rock’s softer, more unhurried pleasures. Think. close harmonies, crisp arrangements, and an easygoing, J.J. Cale-like sway. For their Lagniappe Session, William Murray and Winter McQuinn turn to three favorites from their record collections: Danny O’Keefe’s “The Road,” Mark Fry’s “Song For Wilde,” and Heron’s “Lord & Master.” Spanning road-worn singer-songwriter fare and the pastoral reaches of British folk, the selections share the qualities that animate the duo’s own work . . .
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Fog lifting off San Francisco’s Victorian rooftops, twelve-string guitars catching the morning light, and the ghost of a California that exists somewhere between memory and myth. A curated sampler spanning Skygreen Leopards’ 2001–2014 catalogue, tracing Glenn Donaldson and Donovan Quinn’s journey from lo-fi jangle-psych fragments to sun-dappled pop reveries—an overlooked gem of the Bay Area underground, steeped in eucalyptus hillsides, coastal haze, and the strange, enduring magic of the West Coast . . .
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For a fleeting moment in the early-to-mid 90s, ambient house consummated the perfect synthesis of dance music groove and cosmic expanse. Emerging from the chillout rooms and the afterparties at the margins of club culture, ambient house cultivated the psychedelic elements of the rave scene into an altogether more atmospheric direction. The scene produced a handful of genuine superstars in the Orb and the Future Sound of London, but beneath these, there lies a whole galaxy of trippy, pulsing electronica to traverse. Here are a few hours to get you started . . .
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Chicago guitarist Brett Sova slips further from psychedelic overload and closer to new wave song structure in this fifth full-length. This second album with a full band—Sova himself, plus bassist Jeremy Freeze and drummer Josh Johannpeter—layers clean, warbly guitar texture with sawtoothed bass, sounding, at intervals, like a brighter, more optimistic Wipers . . .
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