Gwenno's Utopia is an exceptionally compelling work that masterfully strikes a balance between playful and poignant in both the musical and lyrical expression. It’s a beautiful and sophisticated work that stands out for its singularity and humanity, marking a momentous moment in Gwenno’s artistry . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. No static at all.
34.1090° N, 118.2334° W . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
This week, our All One Song guest is Ethan Miller. Ethan has been a longtime fixture in the underground, first coming to my attention back in the early aughts as the co-founder of the psych noise pioneers Comets on Fire. But Ethan is nothing if not prolific — he’s played with an array of awesome bands over the years, from Howlin Rain to Feral Ohms to Odyssey Cult. Ethan was also one-fourth of Heron Oblivion with our previous guests Meg Baird and Charlie Saufley … and he’s one-third of the Orcutt Shelley Miller trio, with another previous . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
In this installment: The fading artistry of the billboards of the Sunset Strip. Late summer sounds spanning sunshine psych-pop to Mexican no wave. Crosstown car jams of late. The great Terence Stamp. The American analog to Oasis. Stevie Wonder in 1974 and more. The comments are open . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Some albums don't so much arrive as materialise – like a wisp of cigarette smoke caught in a streetlamp's beam after rain. Bohren & der Club of Gore's Sunset Mission (2000) is one of them, unfolding at a pace that leaves room for the scent of petrichor to linger in the air. There's a European lineage here, from the melancholy of Tomasz Stańko's Polish jazz to the urban fog of Miles Davis' Ascenseur pour l'échafaud soundtrack. But the pacing belongs to Bohren alone – glacial, immersive, and attentive to the silence between notes. Like David Lynch . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
When Japanese four-piece Happy End wanted to follow up their folk rock masterpiece Kazemachi Roman with their own slice of the "California sound" in 1972, they went about it the natural way. Show up at Hollywood's mythical Sunset Sound studio, equipped with a suitcase full of cash and a pearl (a special gift for the producer Van Dyke Parks). Though the language and cultural barrier proved challenging, Haruomi Hosono looks back on the sessions fondly. With a decisively mellow tone throughout, the final eponymous Happy End record recalls formative west coast influences such as Buffalo Springfield, while foreshadowing . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
From the opening moments of “More Today,” it’s clear that Blue Reminder will be lush and lucid, its massive drum-and-guitar onset giving way to smoke-y, smoldering, blues-nodding torch song. “And if this ends tomorrow…/no actually I just don’t want it to,” Duffy muses, getting at the central paradox that our happiest moments contain the seed of later sadness. Because really, this is an album written in contentment but aware of its impermanence. It’s the chill through the weighted blanket, the prickle of unease in a shared laugh with loved ones. We’re . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Freeform transmissions 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, Chad kicks it off with an hour of Thai rock & roll, lo-fi drum machine gospel, private press psych, Congolese electronic soul, Senegalese funk, and more. Tyler follows it up with a bunch of Neil Young-ian bonus tracks as a complement to the All One Song podcast that he's hosting this summer. Sunday, 4-6pm PT . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Rio de Janeiro-based label QTV has just reissued one of the most influential Brazilian records of the last 10 years, and certainly the best of the scene of "canção torta" ("twisted song-form") that the label themselves initiated in the 2000s. Água Batizada is the most pop-sounding Negro Leo ever was, uncategorizable and leftfield as his work tends to be, as it focuses on the extreme potential for indie experimentation and soft surrealist poetics within the musicosmovision of MPB . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
It's near impossible to discuss midcentury crooners without mentioning Johnny Hartman. His tender approach to balladeer vocals epitomizes the post-war era of American jazz singers; his rich baritone is the sonic wallpaper to smoky lounges and amber-hued clubs, where night owls relax on the axis of the wheel of life, "to get the feel of life from jazz and cocktails . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Jessica Risker lets the sunshine into her delicately folky, faintly psychedelic songs, but that sunshine casts a shadow. The Chicago-based songwriter bubbles and charms amid droning kraut propulsion while the cover of her second album depicts the artist in an upper floor of a weathered city building, holding helium balloons, and that about sums it up. Risker floats weightless fantasies from urban grit and realism . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
There’s serious rock and roll firepower at play in this inaugural disc from three grizzled, amp-damaged veterans. You know Bill Orcutt from his noise-jamming youth in Harry Pussy or his more recent coruscating solo electric albums or his generation-spanning and revelatory Four Guitars Quartet with Wendy Eisenberg, Shane Parish and Ava Mendoza. Steve Shelley comes direct from drumming through free-form grooves with Winged Wheel and, before that, from his work with Sonic Youth, the acknowledged acme of cerebral guitar interplay. And Ethan Miller is the man behind the 21st century’s last practicing classic rock . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
On The Ice is the latest EP from Jagged Jaw, the nom de plume of Chicago-based musician, Bobby Lord. At times evoking the meditative atmosphere of Harold Budd and the haunting nostalgia of Air’s The Virgin Suicides OST, On The Ice highlights Lord’s many talents as a musical Swiss Army knife: composer, producer, engineer, and an artist with a cohesive vision . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. No static at all.
34.1090° N, 118.2334° W . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.
Just about 50 years ago, the Grateful Dead took the stage at the Great American Musical Hall, a newly opened 500-capacity club in downtown San Francisco. The ensuing show, captured on a sparkling 16-track recording, was eventually released in 1991 as One From The Vault. As its title suggests, the double-disc set was the Dead’s first dip back into their live archives, kicking off a cavalcade of concert tapes that continues to this day.
Nineteen-seventy-five is one of the stranger years in the Grateful Dead’s long, strange trip. The band played only three . . .
Only the good shit. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support.
To continue reading, become a member or log in.