No Neck Blues Band existed at the polar opposite of what these days can feel like over-sanitized accessibility and extreme exposure to everything-all-the-time. As longtime fans, we felt checking in with some of the members could not come at a more crucial moment . . .
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As a prolific producer, composer, and session player, Jon Brion has been involved with some of the biggest movies and recordings of the last three decades. But with the recent archival release of his debut album Meaningless, listeners can finally hear him as a proper solo artist. Brion joins Aquarium Drunkard to discuss the album and what it means to him more than 20 years after its creation . . .
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Will the well ever run dry when it comes Neil Young live jams and rarities? God, I hope not. In recent years, Young has begun sporadically posting a selection of complete live gigs on his Archives site, spanning the from the late 1960s to the late 2010s. It's been a welcome feast for Neil fanatics. For this mix, the third installation of our Honey Slides series, we've grabbed a few highlights (as well as a choice Barn jam) for your enjoyment. Stretching from 1976 to 2010, it's all electric and leans heavily towards the darker, grittier side . . .
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To be blunt, Wild Goose won’t be for everyone. Folk-jazz crossovers are a tough sell. Even tougher to execute. Especially in a way that doesn’t come across as forced or corny. And there is little to no nuance between the British folk stylings of Wilkie and Hart, and the post-bop, nearing Free Jazz blowouts of the musicians joining them. Imperfect, the album remains an ambitious and visionary album fifty years later . . .
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Radio Free Aquarium Drunkard, every third Sunday on dublab. This month, New Happy Gathering showcases an alternately upbeat and somber hour of jazz & dream pop, Range and Basin leans into long instrumentals and new age, and Doom and Gloom starts the year off right with an Honey Slides mix of dark all-electric Neil Young rarities. To close, Grey on Gray, an all-vinyl hour long slide to close out the last year and open up a new one. Fireside GORP-jazz, new age, and beyond. 1969-2022. Tune in Sunday, January 15 from 4—8 PM Pacific on dublab . . .
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On his debut solo album, James Waudby (Salko/Horse Guard Parade) plays nimble, dancing acoustic guitar with a light touch, matching his six-string melodies with an unhurried voice that feels like belongs on a lost 1960s folk classic by Bert Jansch . . .
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Meg Baird’s latest album, Furling, withdraws itself into small domestic spaces. It explores the partnership the songwriter has forged, both musical and romantic, with the guitarist Charlie Saufley. It meditates on the way that a piano can sit at the center of family life, making any house a home. And yet, it also faces outward, pushing out rollicking grooves and aching, pristine clarity. It makes the case for Baird, once again, as one of the finest singers and songwriters of her generation . . .
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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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Prior to founding Zelone Records and becoming the emperor of mellow groove, Shintaro Sakamoto fronted Yura Yura Teikoku. A scrappy psych trio with humble origins in the Tokyo’s DIY underground, the band cut a unique trail guided by an eclecticism that pushed their sound ever further to new heights. Over two decades, 10 studio albums, a live record, and a slew of EP’s, the band eventually saw crossover success in Japan, signing to a major label and garnering a cult following abroad. However, as everything seemed to fall in place for in place for Yura Yura Teikoku, the . . .
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Comradely Objects is every bit as mathematical as it is melodic, and as already covered artfully here at AD by Brent Sirota, it is arguably the crowing achievement of the Horse Lords cannon. Fresh on the heels of their latest release, we caught up with guitarist Owen Gardner and bassist Max Eilbacher to discuss recording in lockdown, relocating to Germany, weaponizing the avant-garde, Cornelius Cardew, and what happens when lyrics fail . . .
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Slovak prog legend Dezo Ursiny is still to find the recognition he deserves outside of his homeland. A successful composer of documentary soundtracks in the socialist 1970s, and later a filmmaker in his own right, Ursiny passed away prematurely but left a significant oeuvre.
It's the music you'd hear in a dream where you're coming back from a party in a late night cab and the streets are empty and the sky is gleaming and the world is ending . . .
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... dig into this remarkable cover. Arguably Bobby Gillespie’s most soulful delivery, the piano-driven track delivers a shimmering, almost spiritual ambiance before crashing into a haunting, slow burn of an outro. The narrative penned through the lens of a wounded Vietnam soldier, the stark minimalism of Wilson’s lyrics is a perfect match for the band’s bluesy comedown and the . . .
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Picking up exactly where Beautiful Vision’s “Scandinavia” left off, “Higher than the World” unfolds amid a cascade of synthesizer, choppy R&B guitar, and the saccharine acknowledgment of higher consciousness that defined Van Morrison’s sonic pilgrimage of the 1980s. The third installment of what can be termed the Celtic Guru period, Inarticulate Speech of the Heart incorporates a softer edge to the sound that Van was building over the course of the decade . . .
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The Ecstasy of Gold finds members of Acetone, Dick Slessig Combo, and Dengue Fever teaming up for a set that spans fuzzed out workouts, psych, prog flexes, surf, and sure enough, Morricone-y grandeur . . .
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To the other side of the sky. 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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