Outré California. 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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Charalambides guitarist Tom Carter and No-Neck Blues Band synthesist Pat Murano have been collaborating for over a decade, Each of their albums tend to find the duo exploring the liminal spaces of spiritual esoterica. Their latest collaboration is devoted to the philosophy of nineteenth-century French occultist Eliphas Levi, who influenced every seeker from Madame Blavatsky to Aleister Crowley and practically invented the modern language of ritual magic. Carter and Murano channel Levi's thought into a searing, beautiful work of psychedelic dissonance . . .
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Welcome back to All One Song, A Neil Young Podcast presented by Aquarium Drunkard. We’re spending the summer talking to a few of our favorite artists and writers about their favorite Neil Young song. This week, we’ve got someone very special: Steve Shelley of Sonic Youth. Steve spent about 25 years behind the drum kit for Sonic Youth as the band radically redefined and reimagined rock and roll. He’s easily one of the greatest drummers of the past four decades, as heard on such classics as Sister, Daydream Nation, Washing Machine, Murray Street and beyond. His style . . .
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Volume three of Yesternow. The comments are open. Who are you? Where are you? How are you? Justin runs down some favorites of late including thoughts on the late Anthony Bourdain, Adrian Sherwood's 1997 dub remix Echo Dek, Cold War jazzists, distance running, LA area listening bars, and more . . .
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Sally Anne Morgan hasn’t missed with a solo album since her 2020 debut, Threads, and her fourth and latest, Second Circle The Horizon, only further solidifies her position as a purveyor of traditional music distilled through a modern, experimental lens . . .
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There is an indescribably New York character to the latest Adam Amram LP, To The End on California’s Nudie Records. Somehow, the album embodies the easygoing yippee humor of Arlo Guthrie, dry wit of Lou Reed, folk exploration of Richie Havens, and the literary curiosity of Dylan or the like–all without being bound by any of it . . .
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Fortunato Durutti Marinetti states the sequel to his 2023 jubilant sophomore record Eight Waves In Search Of An Ocean is a homage to Anne Carson's book Eros: The Bittersweet. Marinetti calls this style "poetic jazz rock," drawing on the chillness of Donald Byrd and the expansiveness of Robert Wyatt. We'd call it apocalyptic ballroom indie, or: music to imagine yourself slow-dancing as the ship sinks . . .
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Rebecca Schiffman’s fourth album kicks off with a nine-minute epic — a nervy opening move in these days of ever-decreasing attention spans. But it’s a gamble that pays off beautifully, as Before the Future’s remarkable title track unspools like a bittersweet indie flick from the 1990s . . .
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Welcome back to the stacks. It’s Aquarium Drunkard’s Book Club, our monthly gathering of recent (or not so recent) recommended reading. In this month’s stack: author Dan Nadel tackles the weird, wild and complicated life and career of iconoclast illustrator of the underground R. Crumb, Marcus J. Moore's deep dive into the D.A.I.S.Y Age of De La Soul and beyond, Lucinda Williams' secrets, Micajah Henley's 33 1/3 rundown of the Clash's 1980 triple LP, Sandinista!, R.E.M. and more . . .
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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, Chad kicks it off an hour of minimalist indie rock & lo-fi art pop and Tyler follows him with some semi-summery moods. (And they’re both paying tribute to the recently departed Brian Wilson and Sly Stone.) Sunday, 4-6pm PT . . .
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As part of When You're Calling Me, an upcoming tribute to the Beach Boys Friends LP coming soon on Passing By Records, Floreana (AKA LA-based musician Victoria Mordoch) tackles “Diamond Head,” one of the album’s two exotica-flavored instrumentals. In her hands, it’s a great dot-connector, taking us from Les Baxter to Stereolab to today’s ambient jazz scene. And she gets there in under two-and-a-half minutes. Something tells me Brian would be pleased . . .
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From Hollywood A-list leading man to B-movie cult favorite, from Oscar winner to Razzie nominee, Nicolas Cage has made a career out of disappearing into his characters. But characters can just as easily disappear into Cage. Vampire’s Kiss is an exemplary example of the aforementioned, where Cage’s eccentricities become so pronounced that both the actor and character implode inward, forming a caricature that occupies the liminal space between meme and reality . . .
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The ether has been particularly swampy as of late, but the strange alien sounds of the California-based MJ Lallo have been helping us wade through the thick and uncertain fog. Dig “Before Brazil,” off the vocal artist, poet, and composer’s self-released 1988 album The Channeled Voice - with just her vocal, albeit heavily modulated, and a drum machine, she conjures a hazy club outing that blends dance music, exotica, and new age in a deeply intoxicating and idiosyncratic fashion . . .
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Could this summer get any weirder? Things are tumbling forward in 2025, with the future as unsteady and uncertain as can be. But the great music keeps on coming somehow, making the weirdness more tolerable. For your further explorations (and continued sanity), check out a handful of recent releases that we’re putting on repeat as the mercury rises . . .
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Norwegian musician Håvard Volden is best known for his collaborations with songwriter Jenny Hval, with whom he plays in the experimental art pop group Lost Girls. But with his solo excursion Small Lives, he creates a space where post-rock lulls nestle against jazz structures and subtly anarchic counter melodies. Though the cited influences of early tape composers like Luc Ferrari and madman studio experimentalist Joe Meek might call to mind chopped and spliced takes, Volden maintains a steady organic feel on the title track, a graceful guitar-based drone funk ballad . . .
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