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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Part 4 of our Celtic Guru series. Released in 1984, Live at the Grand Opera House Belfast was recorded a year prior on the heels of Inarticulate Speech’s release. With the familiar cast of musicians that he had been using on tours and in the studio over the last few years, Van could construct a comfortable atmosphere that, while surely demanding, cultivated the appropriate balance of studio re-creation and spontaneous musical ideation . . .
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Today on Transmissions, a tremendous conversation with Jason Stern and Don Fleming of the Lou Reed Archive. From the contents of the archive to under-recognized albums from Reed's discography, this talk covers fascinating aspects of Lou's life, offers insight into his art, addresses controversies, and much more . . .
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The Lagniappe Sessions return in 2023 with Courtney Marie Andrews. Recorded last fall around the release of her Sam Evian produced LP, Loose Future, the following set finds Andrews taking on late-era Leonard Cohen, along with a low key rendering of the ubiquitous late 90s radio smash that was Shania Twain's "You're Still The One . . .
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The compact disc era brought with it endless reissues of old albums — and to entice us all into buying those old albums for the second, third or fourth time, they often included bonus tracks. Was there a fair amount of barrel scraping as the years went by? Oh yeah. But there were also plenty of completely awesome sounds that gave us fresh perspectives on classic LPs and artists. In this new, ongoing Aquarium Drunkard column, we’ll be diving back into our CD collections to highlight some of the very best bonus tracks . . .
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Singer/songwriter Jenny O joins Aquarium Drunkard for a searching talk about Spectra, growing up in rock, jazz and classical music, learning to work within her own unique parameters and she’s through writing love songs and wants to dedicate the rest of her life to communicating about the climate . . .
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Awash in reverb and rippling bridges of synth, “Visions of Fatima” is the latest communiqué from cosmic LA weirdos monde ufo and the first taste off their forthcoming album, Vandalized Statue to Be Replaced With Shrine. The lounge-laced dose of ambient psych from the duo references the Marian apparitions witnessed by three shepherd children in Fátima, Portugal in 1917 and proceeds to blend the sacred and the supernatural in their keenly overcast fashion . . .
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"Paris 1919 is John Cale's furthest excursion into musical imagination, illuminating horizons heretofore unsighted," went the PR copy for John Cale's third solo effort, which was released 50 years ago this month. To celebrate Paris 1919's 50th anniversary, here's a re-imagined version of the LP, featuring some choice covers, oddities and even a few appearances from Cale himself. Take down the flags of ownership and listen in . . .
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Andy Norris’ Surface Noise project is an ambient beat tape. Its sound originates deep in the pocket, not a sample library, with paint dolloped on thick and deliberate–more like Van Gogh than Pollock. The latest is Here: Extras. These six alts, remixes, and “outtakes” reveal more of jazz and funk elements and shows off the intricate and wildly divergent drumming styles. Tinges of Thievery Corporation, Monster Rally, and Flying Lotus flutter through . . .
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Radio Free Aquarium Drunkard, every third Sunday on dublab. This month, New Happy Gathering bundles a collection of new digs (current and archival) and heartfelt farewells to some recently lost legends. Then, Range and Basin offers a jazzy, soundscapey trip into the Sonoran Desert. To follow, Doom and Gloom sprawls out with an hour of neo-classical, library music, post-post-rock, retro-futurist situations, and recent jazz. To close, Sick Sad Motherslug with Ana Gavrilovska of Maggot Brain Magazine drifts out into cosmic expanses. Tune in Sunday, February 19 from 4—8 PM Pacific on dublab . . .
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With their jittery harmonies and bounding rhythmic clangor, their insistence on doing it themselves, and their brash disregard of expectations, The Raincoats didn’t just talk about feminism: they enacted it. Nearly 20 years on after The Raincoats last album, founding member Gina Birch has made a solo album, I Play My Bass Loud, her first in a multi-decade career (unless you count a 1994 album by The Hangovers). We talk about her new record, her early days in squats, her love of reggae and the legacy of The Raincoats . . .
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Hailing from the upper reaches of the Northeast, Henry Birdsey and Zach Rowden managed to branch out into the furthest corners of Free Music before coming together as Tongue Depressor. The pair has made their case for the future of organic music over the course of nearly two dozen releases in the seven years since, setting the template for the most open form of Avant-classical meets American primitive sounds that have yet to grace the ears of adventurous listeners. Bones for Time finds Rowden and Birdsey at the pinnacle of their powers, with the double LP treatment offering a . . .
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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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Greg Foat’s latest, Blue Lotus, is as good an entry point as any. Credited to the Greg Foat Group, his longstanding ensemble with Rob Mach, Trevor Walker, Phil Achille and Eric Young, Blue Lotus also features veteran UK soprano saxophonist Art Themen and the ferocious drummer Morgan Simpson of the shit-hot UK avant-rock band black midi. Foat himself, of course, mans a formidable Wakeman-esque bank of electric piano, vintage synthesizers, ring modulators and space echo units . . .
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Mattson 2 guitarist Jared Mattson joins us for a discussion about his solo debut Peanut, covering Ween and John Coltrane, inhaling tire rubber, and the underrated power of Andy Summers of The Police . . .
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