Tea lights. 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 . . .
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 two members of The Pastels started the Domino imprint Geographic in 2000, the ethos was simple. "The idea was to release beautiful semi-unknown music from around the world and take it as far as we could". Specifically garnering an organic, collaborative spirit between Glasgow and Tokyo, the label reached the influential ears of the likes of John Peel, David Berman and Jarvis Cocker. From avant-pop ensembles and minimalist jazz to sun-soaked guitar soundscapes, here is a sampling of the singular spirit of the mighty Geographic catalogue . . .
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.
The Necks have created conditions for themselves as a band that embraces a constant pattern of departure and arrival. In the leadup to the release of Bleed, Aquarium Drunkard interviewed Lloyd Swanton (bass), Tony Buck (drums, percussion), and Chris Abrahams (piano, keyboards) of The Necks by email, comparing and contrasting how they work in the studio as opposed to performing live, the band’s decision-making process while recording, the mountains of live recordings in their archives, and more . . .
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.
Synthesist Jill Fraser has lived a remarkable life in music: mentored by Morton Subotnick, she went on work in film and television, with projects like 1974's sci-fi fantasy Zardoz and Paul Schrader's 1979 film Hardcore to her name, in addition to a litany of commercials featuring her inventive sound design. In the '80s, she found herself on the outskirts of LA's thriving punk scene, and now, she's released a new album cum science fictional sacred saga, Earthly Pleasures, on the storied Drag City label. She joins us to discuss . . .
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.
Luke Combs this is not. Fourteen years after its initial chart-topping 1988 release, sonic chameleon Jim O’Rourke laid hands on Tracy Chapman’s “Fast Car” in 2002 while touring Japan. Where the original tracks just under five minutes, O’Rourke’s alchemy transmutes the iconic riff into a thirty-three minute atmospheric drone. In a word, hypnotic . . .
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 tempting to describe what bassist Anna Butterss and their Los Angeles colleagues are up to as "redefining jazz," but that assumes jazz had a solid definition in the first place. In the 21st century, jazz continues to elude classification, with a resurgence of interest in old, previously overlooked and underappreciated material and the appearance of a new cadre of adventurous, genre-fluid players. But Mighty Vertebrate is a different beast. Neither improvised nor manipulated, begun as through-composed songs but later expanded upon and spun out, it's groove-heavy, lyrical and spacious, with an energy that feels . . .
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 a sign on the cover of Hataałii's Waiting for a Sign, bearing the words "authentic real deal." It's the kind of billboard familiar to anyone who's driven through the large swaths of Native-held land in the American Southwest. Signs hocking goods, promising hearty meals, beckoning you off the road and into some cafe, trading post, or casino. But that's only scratching the surface. He joins us for a conversation to dig deeper . . .
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.
Wendy Eisenberg contains multitudes. You would be hard pressed to find formal commonalities between the deconstructed bedroom folk of Time Machine (2017), the tender improvisations of Auto (2020), or the banjo freakouts of Bent Ring (2021). Sure, there is that same brightness of the vocals; the felicitousness of the cadences; the centrality of the strings. Yet all of this seems to serve new functions every time, and every time to impose a turn in their way of composing that was previously impossible to predict as a listener . . .
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.
Come for the close harmonies and burnt pedal steel, stay for the heartfelt, casually poetic lyrics and finely observed character portraits. Lerner and Cunningham aren’t reinventing the wheel here; instead, they’re finding interesting and personal ways to take a tried-and-true landscape and explore its every river, canyon and summit. The results are quietly spectacular . . .
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.
"...I'm your toy, I'm your old boy." Country-fried Los Angeles outfit Caravan 222 continue to put the honk in the tonk. For their Lagniappe Session, the septet works up stalwart '70s British pub-rockers Brinsley Schwarz's "Country Girl," Danny O'Keefe's 1972 chestnut "I'm Sober Now," and a faithful rendition of Gram's "Hot Burrito #1 . . .
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.
Poet philosopher Howe Gelb is a natural storyteller. And it turns out the Tucson-based songwriter doesn't even need his signature voice—husky and low, a rumbling, phantasmagoric presence fronting his genre-crossing band Giant Sand for more than 40 years—to get his tall tales across. On his latest, Weathering Some Piano, Gelb's voice does make a few brief but welcome appearances, but the focus is on his piano playing—solitary, unadorned, self-recorded at his home in Tucson "during random moments of weathering . . .
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.
Paris-based archival label We Want Sounds has become a house favorite, and their ongoing series of Akiko Yano reissues is one particularly sweet fruit to be pulled from that tree. Their sixth and most recent entry in the series came last year when they gave her third studio album, 1978’s To Ki Me Ki, its first ever release outside Japan . . .
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.
Long Days, Pleasant Nights is the sophomore album from Dark Canyon, the nom de plume of Chicago-based multi-instrumentalist/producer/engineer Mike Novak. We sat down with Novak to discuss writing and recording the album, becoming a new father, Stephen King's The Dark Tower book series, and much more . . .
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.
Portico pacifico. 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 . . .
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 1995 Fugazi released Red Medicine which to us here at AD was a radical shift in the band’s recorded trajectory. The arrangements grew more complex, the studio-as-instrument ethos becoming fully realized with more extreme textures. From lo-fi abstractions to widescreen feedback, to moments of tender beauty, the overall feel of the album felt more personal, even down to the packaging itself. To these ears it stands as a fulcrum which opened vistas in which the next records would further expand upon. Digging in, llyas Ahmed recently sat down with band member Guy Picciotto for a . . .
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.