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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Long time reader, first time caller? Welcome to Mailbag, our new monthly column in which we dig in and respond to your questions. Got a query? Hit us up. This month: live '69 Neil Young, '80s Dead, some Hamburg, Germany finds, and the current state of 'new age' music . . .
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Though the intention of Dunhill Records was to establish Walsh as a bonafide solo artist, Barnstorm operated as a highly collaborative entity, with Walsh, Vitale and Passarelli contributing tunes, swapping instruments and sharing vocals. The resulting record is a loosely thematic set that never struggles to hold itself together - a rare 70s rock LP that embodies all of the characteristics that make it of its time while transcending them all . . .
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This week on the show, Danalogue (Dan Leavers), Betamax (Max Hallett) and Shabaka Hutchings, known collectively as the improvisational crew The Comet is Coming. They join us to discuss Hyper-Dimensional Expansion Beam, the apocalypse, AI, improv tactics and more . . .
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Recorded in his Missouri home studio, Concerto In “B. Goode” remains one of Chuck Berry's spookiest and bleakest records. Disavowed by some involved in its creation, it remains a haunting and vital listen . . .
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...emphasizing the desaturated tones of leftfield electronics, drum machines, processed vocals, and less easily identified instrumentation, all of which fuse together into a hypnotic world that one could easily imagine as the soundtrack to the farthest reaches of David Lynch’s Twin Peaks fever dream limbo, the Black Lodge . . .
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In the smoking aftermath of Miles Davis's landmark Bitches Brew, musicians across the planet tried to come to grips with its dense, freaky, electric grooves. Aquarium Drunkard scoured the globe to bring you five hours of seismic seventies funk and fusion from far and near. The weather's changing. Nights are growing longer. And this is the way we all keep our heads right . . .
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We caught up with legendary producer Adrian Sherwood on the heels of his latest effort behind the boards: Horace Andy’s new album, Midnight Scorchers.
"I'm just very, very proud of it. We didn't rush it. We spent two years making it. We started it before lockdown. And we kept improving it, so I was sending Horace back and forth to Jamaica. Let's do this better. Let's do this again . . .
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Nearly a decade from the release of Labor, Bob Keal’s Small Sur project has returned with the remarkable Attic Room. Presented is a deeply personal record capturing slivers of life from the father, teacher, woodworker, and songwriter. Keal showcases an ability to take a second in time – “A thundercloud unfolding after the rain,” “I’ll have one last cigarette then lie down to rest,” “the silhouette in space formed by the morning sun” – and expand it into a landscape of abstraction . . .
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According to Mr Bongo, the label responsible for reissuing this manic gem, “Akira Ishikawa was not messing around when he recorded the Uganda (Dawn of Rock) album with his band the Count Buffaloes.” That checks out on our end. Originally released in 1972, following the equally mental (though comparably tame?) African Rock, Uganda is four enveloping tracks, clocking in just under 40 minutes, of deep-fried blues-rock sludge, ecstatic free-jazz abstractions, dizzying African percussion, and psychedelic maelstrom . . .
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Pad tries to solve the same dilemma of the pop music that influences it: how does one follow a recipe for composition without becoming formulaic? How can we carefully engineer simplicity; forge, out of patterns of predictability, some original and compelling songs? With Pad, the answer lies within the ingenious little refrains of synth, which form a homogeneous blanket that continually pours over the arrangements of bells, drums, and nostalgic vocals . . .
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In the late '80s, East Nashville based collaborators Lee Tracy & Isaac Manning created stripped down minimalist soul. Fully DIY, recording straight to tape deck with an array of synthesizers and rhythm machines, they privately churned out totally futuristic and idiosyncratic takes on practically every popular black music form of the 1980s and early 1990s . . .
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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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The sound of Marina Allen’s terrific second LP is steeped in the late 1960s / early 1970s singer-songwriter styles of Carole King, Nilsson, After the Gold Rush and For The Roses. But it’s to Allen’s immense credit that Centrifics somehow still feels firmly fixed in the present day. This isn’t just a detailed Topanga Canyon re-creation — it’s a skilled update, with its own distinct twists and turns . . .
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On an all-new episode of Transmissions: Ken Shipley of Numero Group. October has arrived, but the storied Chicago label was still in the midst of its September ‘90s month celebration of reissues from Codeine, Karate, Current, and Unwound when we taped this conversation. Shipley and host Jason P. Woodbury discuss how the label has evolved, aesthetics, the new Blondie boxset, Shipley’s midwest emo roots and pre-Numero days at Rykodisc and Tree Records, and more . . .
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