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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It is perhaps at the peak of his unhinged behavior in the mid-70s that Martyn stumbled into his creative apex. Solid Air confirmed that the chops were there, but it was with One World that the artist cemented his potential for crafting masterworks that transcend the folk-singer moniker . . .
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On Saturday, April 20th, Aquarium Drunkard Transmissions returned to the esoteric grounds of the Philosophical Research Society in Los Angeles for a living taping with guest host Will Sheff (Okkervil River) in conversation author Sean Howe, discussing Agents of Chaos: Thomas King Forçade, High Times, and the Paranoid End of the 1970s, book on High Times founder, provocateur, and trickster Thomas King Forçade as part of PRS' Earth Day celebration Plantstock . . .
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On Colours & Light, Project Gemini’s second album, released by certified groove merchants Mr. Bongo, UK bassist Paul Osborne welcomes listeners into the soundtracks of his dreams. Expect acid folk, tropicalia, yé-yé, and Caribou circa The Milk of Human Kindness—when they were still a psych-pop band with two drum kits . . .
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On his second live release this year, Villa Maximus sends jazz pianist and synthesizer maven Greg Foat to Mykonos with his frequent collaborators guitarist Warren Hampshire of the Bees and drummer Ayo Salawu of Kokoroko. But the real wild card here is stellar Greek reedman Sokratis Votskos, who adds flute and bass clarinet to this already formidable unit. The thrilling results range from deep space ambient jazz exploration to funky krautrock blowouts . . .
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With Death Jokes Damon McMahon has created a complicated musical and cultural tapestry, inspired by hip-hop sample density. “I just really hope that people take the time to pay attention to the details, because there’s so much in this album. Even my dearest friends are saying, ‘I didn’t understand it until I’d listened to it five times . . .
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Although a few diehard indie rock fans would probably recognize his album artwork for groups like Galaxie 500, Urge Overkill, and the Butthole Surfers, it’s likely that even that small coterie of people wouldn’t readily recognize Michael Macioce's name. But he documented NYC's avant scene with his camera, offering photos of Sonic Youth, Ween, John Zorn, Galaxie 500 and many more . . .
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Maximal repetition with minimal deviation: This is the guiding principle of Water Damage, the amorphous Austin, Texas-based collective specializing in 20-minute slabs of hulking, relentless drone-rock for people who think two notes is one too many. An awe-inspiring racket that sounds like Earth taking a crack at making dance music, or a bulldozer covering Faust . . .
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Enter Nick Millevoi. The guitarist's Moon Pulses rises over the horizon of cosmic guitar, breathing life from a new direction. The six-part suite that encompasses the LP offers a stoic take on the free-form headyness that proliferates the current world of guitar records . . .
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Radio Free Aquarium Drunkard returns to the Dublab airwaves for another round of sound. New Happy Gathering kicks things off with an hour of folk, chamber atmospheres, and downtown jazz + Doom & Gloom From The Tomb will jam some new favorites from 2024 — motorik workouts, early morning ambient and dreamy drones. Sunday, 4-6pm PT . . .
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somesurprises began modestly, but with the band’s latest record, the excellent Perseids, they’ve moved into a positively widescreen space. It’s a dreamy sound, occasionally reminiscent of such legends as Stereolab, Grouper, Mazzy Star or Yo La Tengo. But it’s not just dreamy. Beneath the gorgeous drones and sweet motorik pop-rock, there are plenty of sharp edges, both sonically and lyrically . . .
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This second round of Ghosted rides a sinuous pulse, a tricky pop of rhythm playing out over multi-toned drumheads, a subtle nod of bass, a flame-like fluctuation of tone and feedback. Oren Ambarchi who more typically works in the studio, layering texture on texture in post-production, here again sinks into a live, intuitive groove, reacting on the fly to long-time compatriots Johan Berthling and Andreas Werliin . . .
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Sun is shining. The latest installment in Michael Crow Taylor’s dank reggae mix series, Sufferer’s Time, winds a path through deep devotionals, primo dub and loping, cosmic love jams. Mixed at Dad’s Bar and Grill, Durham, NC. You can find Taylor onstage with Hiss Golden Messenger, and in the studio with Hiss, Revelators Sound System and many other friends . . .
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Equal parts João Gilberto tribute and freshly inspired arrangements, this is a fulfilling experiment reaching cinematic depths. A restless arranger and film composer in Japan, the prolific Giro Ito Ito is perhaps most inventive when playing homage to the Brazilian musicians that perennially influence his compositions. Sean O'Hagan describes it best: "The harmony he manages to craft is post-Jobim and Gilberto but collides with European and Japanese experimentation to create a sound unique to Goro . . .
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The singular and enigmatic singer-songwriter Judee Sill has been gone nearly 45 years, yet her work is in a renaissance. Over the past twenty years, there has been a growing fascination in both Sill’s music and story, with a series of reissues, posthumous releases, and retrospectives opening her work to a contemporary audience. Now a new documentary on her life and career, Lost Angel: The Genius of Judee Sill . . .
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