Posts

Sam Moss :: Swimming

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Sam Moss's new LP boasts an exceptional backing band — Joe Westerlund on earthy percussion; Isa Burke on deeply felt lead guitar, violin and banjo; Sinclair Palmer on rich double bass; and Molly Sarlé on haunting harmonies. Jake Xerxes Fussell also pops up to lend a hand on a few tracks. Together, this group creates an extraordinarily intimate sound to surround Moss’s voice and acoustic fingerpicking, whether it’s the steady thump of the title track, the slow way of “Dance” or the somewhat sinister groove of “Lost.” You could slot Swimming into the so-called Americana genre, but . . .

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Eric Dolphy :: Last Date (Documentary, 1991)

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The documentary’s title Last Date is lifted from an album of posthumous live recordings from a Netherlands radio session in the summer of 1964 (the Dutch trio from the session feature prominently in the film). Just a few weeks later, Eric Dolphy tragically passed after slipping into a diabetic coma during a performance in Berlin . . .

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Harold Budd :: Abandoned Cities

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Composer Harold Budd always resented the term "ambient," with which his music had been saddled since his pioneering collaborations in late 70s and early 80s with Brian Eno. One can imagine the thoughtful, genial Budd being positively exasperated with the even more niche tag "dark ambient." And yet, Budd's haunting and uncharacteristically bleak 1984 album Abandoned Cities was dark ambient before the term existed. One of the lesser-known works in Budd's discography, its synthesizer drones and blighted landscapes seem to speak prophetically to the crisis of our present moment . . .

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Radio Free Aquarium Drunkard :: February 2025

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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 with an hour of broken valentines, with Tyler following it up with some melancholy psych-folk situations. Sunday, 4-6pm PT . . .

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Ted Lucas :: Nobody Loves Me Like My Baby Does

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On February 21, psychedelic folkie Ted Lucas' self-titled 1975 cult classic rides again, this time thanks to the folks at Third Man Records. This go-round, an expanded vision of Lucas' visions is offered, with the digital release including four previously-unreleased songs, including the swooning, flute-heavy “Nobody Loves Me Like My Baby Does . . .

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Roedelius :: The Aquarium Drunkard Interview

Roedelius The AD InterviewPosted on

Featuring 50 tracks from his vast recorded archives, 90 presents kosmische pioneer Roedelius at his most intimate. The result is a collection that feels as meditative as it does personal. "Everything came to me as a gift of the moment," he explains, opening up about the genesis of his creative practice and how his songs function like prayers . . .

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Ron Geesin :: The Aquarium Drunkard Interview

Ron Geesin The AD InterviewPosted on

In the creative act, is the interaction with others or solitude in a private space more important? While in the past, genius was often described as a solitary artist, distant from society, today more importance is placed on the “creative ecosystem” from which they emerge. The story of Ron Geesin might help to rebalance the issue, highlighting both the collaborative phase and the more secluded one. But could his choice to follow his own path, away from the well-trodden routes, have worked against him in terms of critical reception . . .

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Bandcamping :: Winter 2025

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With the promise of spring still a long way off, we’re finding solace in sound. From ambient excursions to garage rock raveups, check out a few recent/recommended releases that will heat up even the chilliest of winter nights . . .

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Horsegirl :: Phoenetics On And On

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Horsegirl’s three members were hardly out of high school when they emerged from Chicago’s raucous post-punk scene, a boisterous but cerebral gaggle of youth and precocity unafraid to play with amp feedback and dual guitar tone. Now college age, the trio of Nora Cheng (guitar/voice), Penelope Lowenstein (guitar/voice) and Gigi Reece (drums) whip a bit of air and lightness into their sophomore LP, tapping indie phenom producer Cate LeBon’s way with tipsy agitated sweetness . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PST, Channel 35)

SIRIUSPosted on

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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Unearthed, Vol. 19 :: Valentine’s Day

UnearthedPosted on

It’s been a few years, but we’re rebooting the Unearthed mix series in 2025 — further trips into the murky bootleg world! To get things going, a mix made up entirely of live recordings from various Valentines Days from over the decades. It’d certainly be a stretch to call everything included here a love song, but hey, we’re all mature enough to recognize that the emotions of February 14 run the gamut, right? The moony, swoony vibes of the holiday can just as easily slip into feelings of loneliness, regret and heartbreak. Or just plain weirdness! All . . .

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Aquarium Drunkard Book Club :: Chapter 32

Book ClubPosted on

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: a brief but powerful chronicle of the spiritual awakening, initiation, and transformation Alice Coltrane underwent between 1968 and 1970, the 1923 book that forever changed the course of David Lynch's artistic life, Rosecrans Baldwin’s meditation on Los Angeles, from self-help cults and psychics to migrant workers and Octavia Butler, and Mark Swartz's "what if" exploration of artists who died before their time . . .

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Barbara Keith :: S/T

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Barbara Keith’s 1970 self-titled record began making its rounds of the archival labels (both legitimate and not) at the turn of the century. It was hailed – like so many of the now-resurfaced formerly-shelved records of the seventies – as a lost masterpiece du jour. Perhaps it was the studio lineup which included the likes of Lowell George and Spooner Oldham, or maybe Keith’s retreat from the limelight following its release, or the fact that the material ended up being covered by Patty Loveless, Delaney & Bonnie, Barbara Streisand, and Melanie. Whatever the reason, it was this record . . .

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Greg Foat :: The Rituals of Infinity

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Prolific UK keyboard impresario and composer Greg Foat is back to nicking his album titles from classic English sci-fi paperbacks. This time, he's borrowing from Michael Moorcock's 1971 novel, The Rituals of Infinity. Foat likes to mine sci-fi not so much for its brooding cosmology as for its air of zippy, intergalactic pulpiness. And here, once again teaming up with British jazz legend Art Themen on saxophones, Foat and company lay down another funky, lush album of library grooves and jazz futurism . . .

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Jairus Sharif :: Mawu

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The Calgary-based composer and multi-instrumentalist Jairus Sharif returns with Basis of Unity, his third album under his own name, later this month via Telephone Explosion Records. With the one exception of some freestyle spoken word courtesy of original CAN vocalist Malcolm Mooney on the track “We Be,” Sharif handles all the instrumentation and production himself on this droning symphony of ambient noise and free jazz – armed with a cadre that includes alto saxophone, electronics, percussion, drums, bass, keyboard, samplers, and “small instruments . . .

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