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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 504:  Jean Michel Bernard — Générique Stephane ++ Loudon Wainwright III - Hollywood Hopeful ++ Neil Young - L.A. ++ Crazy Horse - Dance, Dance, Dance ++ Ernie Graham - Don't Want Me Round You ++ Bert Jansch - Open Up the Watergate (Let the Sunshine In) ++ Bob Dylan - When I Paint My Masterpiece ++ Sandy Denny - Crazy Lady Blues ++ Chris Darrow - Wherever You Are ++ The First Edition - Tulsa Turnaround . . .

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Robert Stillman :: Portals

Watch out for those late in the year surprises. Eclectic composer Robert Stillman sneaks in just under the 2017 wire with Portals, a new lp of Fender Rhodes improvisations. Recorded at his home in Kent during the winter of 2016-2017, right around the time his remarkable album Rainbows was released, the new album drifts into lo-fi ambient territory. Stillman designed it as a headphone album and it excels with a nice pair  on, its layers pulse . . .

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Lit Up Like A Christmas Tree: Vol I & II (A Vintage Holiday Mixtape)

Ah yes, go ahead and inhale the fecund ether of the season. Lit Up Like A Christmas celebrates the, er, other side of seasonal tidings – holiday esoterica from the far corners of vintage jazz, twang, fuzz, scuzz, r&b, blues, country, garage, lounge and beyond. And by beyond, we mean Sun Ra doing a Christmas song.

Stuff your stockings and have a nip of this nog, below . . .

Lit Up Like A Christmas Tree: The Eggnog Is Spiked (spotify . . .

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The First Edition :: Tulsa Turnaround

Speaking of 1971, the funky shit Kenny Rogers and The First Edition were laying down in the early 70s continues to maintain a special place in my crate -- especially this one. Yup, that's Mickey Jones on drums.

And for those not looking to track down a copy of the group's Transition . . .

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Joey Gregorash :: Down By The River / North Country Funk

Check it out, it's 1971. Joey Gregorash, a Manitoban, cuts his lp North Country Funk and pays tribute to fellow Canadian Neil Young via this snowblind cover of "Down By The River". Also, I kinda want that coat.

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Christmas Jambree :: A Vintage Jamaican Yuletide Mixtape

Yuletide in Jamaica glides in each December on what the locals call the Christmas Breeze, a slightly crisper air that tends to waft through the island this time of year. The other seasonal harbinger is one common to most places: the sound of Christmas songs on the radio. Except that Christmas music in Jamaica is, well, uniquely Jamaican. Traditional carols get a reggae underpinning while lyrics about sunshine and mango often substitute for the usual snow and holly. Back in the day, it was hardly a given that every Jamaican artist would record a Christmas song, unlike today. But . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 503:  Jean Michel Bernard — Générique Stephane ++ Circuit des Yeux - A Story Of This World Part II ++   Maston - Strange Rituals ++ I Marc 4 - Beat Generation ++ Charles De Goal - Dans Le Labyrinthe ++ Bob Chance - Jungle Talk ++ Gorillaz - Double Bass ++ El Guincho - Marimba (With Adrian De Alfonso) ++ Brian Eno & David Byrne - Regiment   ++ Zazou Bikaye - Lamuka ++ Lena Platonos . . .

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Zazou / Bikaye / Cy1 :: Noir et Blanc

It's 1983. A chance encounter between Congolese musician Bony Bikaye, Algerian-born French composer / producer Hector Zazou & electronic duo Cy 1, resulted in this visionary (and until recently, rare) future-seeking treasure, Noir Et Blanc. An expression of defiance in art, this guttural & prismatic wonder had not seen a reissue proper until this past October, revived by its original purveyor, the Belgian-based Crammed Discs.

Like another of . . .

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Pauline Anna Strom :: The Aquarium Drunkard Interview

There is an ever-slight hint of a Southern accent in Pauline Anna Strom’s voice, a remnant of the place she left behind forty or so years ago when she moved to the Bay Area with her serviceman husband, who was stationed nearby. This faint trace of history, barely evident, feels like the fraying threads holding her to something like a recognizable time and place. If her music is to be believed, "Strom's world is circular, at once purely physical and purely spiritual. The largely ambient work she created and released in the early 1980s under the Trans-Millenia Consort label resemble known sound only in the way that the sparkles of light that appear when you jam your fingers into your closed eyes resemble vision. To call her music spectral or wandering is to do it the disservice of naming it; as suggested by Trans-Millennia Music, a recent issue of selections from throughout her early 80s run, there is little that connects her work to the world around us, musical or otherwise. And yet it still feels warm and humane, the byproduct of an inner generosity. It’s welcoming, even if it’s unfamiliar.

Strom still lives in the familiar: the Bay Area, where she works as a healer and spiritual counselor. In the years since her initial run, she’s quietly influenced a number of electronic artists, including MGMT, who put “Morning Splendour” on their Late Night Tales tape in 2011. Some of the sonic territory she pioneered appears among the benevolent worlds of Kaitlyn Aurelia Smith’s music, and she shares a certain settled joy with Laraaji, but these are all distant planets in the same solar system. So we called Strom up around the release of Trans-Millenia Music and asked her to give us a tour.

Trans-Millenia Music by Pauline Anna Strom

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Tom Waits: Weird Tales From A Cracked Jukebox (Documentary)

Once described by Elton John as "the Jackson Pollock of song," Tom Waits is an inherently American artist. Over the past four decades, Waits' eccentric boho brew of junkyard scat, jazz, gutter blues, tin-pan alley excursions and avant-garde cabaret have howled into the ether and reverberated back again...transfigured into something wholly its own.

One day we will interview the man, dipping into all of the above - but until then, this; the BBC's 2017 documentary on Waits by filmmaker James Maycock:become a member or log in.

Maston :: Tulips

Frank Maston’s Tulips is a ‘70s film score on a hit of acid, Elmer Bernstein sweating through a bad trip only to arrive at an ecstatic come up. Maston’s brilliance lies in his ability to create a cinematic universe through music alone–the nostalgic guitar twang blending with Morricone whistles and dusty drums to create something familiar yet decisively unheard.

The album spans varied terrain, touching on Tropicalia (“New Danger”), French pop straight from Gainsbourg’s songbook (“Infinite . . .

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Hans Chew :: Open Sea

While digging into Open Sea, Hans Chew's latest/greatest LP, your imagination may conjure up some dream rock combos. Leon Russell hiring Television to be his backing band in '77? Joe Boyd producing the Allmans? JJ Cale jamming with Crazy Horse? Wherever your mind takes you, you . . .

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Torres :: The Aquarium Drunkard Interview

In the process of building her third album under the name Torres, Mackenzie Scott found herself drawn to hypnotic music -- music that physically affected the body. Tellingly, traces of kosmische musik run throughout the largely electronic framework of Three Futures, recently released by 4AD, but the album's connection to physical form runs deeper than just its motorik heartbeat rhythms. It's an album informed by all senses, art rock as body music, and beyond being Scott's finest record yet, it's one of the most physically-minded albums of 2017, a document of pleasure, self-knowledge, and spiritual release via a carnal vehicle. "To be given a body/Is the greatest gift," she sings on the album's closing track, "Though the jar lifts and the jar descends/Though the morning glory withers/Before it begins/Though all creation groans."

We caught up with Scott to dive into the qualities of the record, discuss the writing of Ta-Nehisi Coates, and unpack the sexual bravado of cock rock.

Aquarium Drunkard: In the notes that accompanied Three Futures, you discuss being interested in approaching music from extrasensory angles. What led you to approach things that way?

Mackenzie Scott: As a whole, I’ve been thinking about life as being "celebratory." I wanted to find a way to not only impart that thematically into the lyrics, but I also to infuse the sonic world I was creating too. To me, each of the senses – when used to their maximum potential– are acts of celebration.

For example, in one of the songs, I thought of colors: forest green and off-white. I thought of taste – instead of just using a guitar, I'd use a guitar pushed through a polyphonic octave generator so as to eventually, you sort of follow the trail in your head, it makes you feel like you’re eating peach cobbler. [Laughs] I don’t know how much of that actually comes through when people are listening to it. Those elements aren’t really registered on the conscious level, but I think that the intention behind it lends itself, hopefully, to having those elements imparted perhaps on some subconscious level.

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Catching Up With Ronnie Spector

The Ronettes blasted into the world and the zeitgeist of the 1960s with a thunderclap as mercilessly powerful as the Bum-ba-bum-BOOM that opens their iconic "Be My Baby". After the thunder, come the castanets — a simple, brief and symbolic sound not unlike a rattlesnake vibrating its tail. Then there’s her voice — Ronnie Spector’s life-changing, miracle-affirming voice — that crashes and crescendos and begs in a tormenting, almost biblical wail. There is no female artist in rock n’ roll more influential than Ronnie Spector — it just took a while for her to realize it. As she describes in detail in her autobiography, Be My Baby: How I Survived Mascara, Miniskirts, and Madness, Spector spent five years psychologically tortured and virtually imprisoned in her then husband Phil Spector’s mansion in Los Angeles. It took a daring barefoot escape with her mother to finally find liberation and salvation. In the following interview she touches on that time and the anguish of not being able to record music or perform on stage. She also talks about her start with The Ronettes at The Peppermint lounge in New York, her reverence for Brigitte Bardot’s hair and recording with Joey Ramone.

Catching Up With Ronnie Spector (An Interview w/ Gregg Foreman)

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A Reflection: Vince Guaraldi Trio — A Charlie Brown Christmas

There’s loneliness and companionship, joy and despair, truth-seeking and blithe celebration, all during what’s marketed to be the most wonderful time of the year. Your interpretation of the season begets your holiday spirit, whatever version it may be — bah humbug and good tidings. It’s little surprise then that Charlie Brown’s soundtrack, as well as our own, is something just as introspective and shifting. Something like jazz . . .

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