Ce soir, lourd sur l’ambiance française. 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
Ce soir, lourd sur l’ambiance française. 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
Join me in L.A. 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
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
Last month saw the release of Of Montreal’s 18th long-player, the seven track Freewave Lucifer fck, and with it the perennial project’s second set of covers for AD, this time paying tribute to a pair of British iconoclasts and longtime influences. First up is Barnes’ rendering of Syd Barret’s “Dark Globe, off The Madcap Laughs, the singer-songwriter’s 1970 debut following his departure from Pink Floyd. Up next, the majesty of Marc Bolan circa ’71, courtesy of an acoustic take on “Cosmic Dancer”, via T. Rex’s Electric Warrior.
Via satellite, transmuting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
34.1090° N, 118.2334° W
Nick Saloman of the Bevis Frond first began banging out psychedelic guitar riffs as a schoolboy, starting out on his instrument at age six and immersing himself in an exploding U.K. and American rock movement. His latest album, Little Eden, is his 30th full-length, a roaring, raging triumphant double album that Saloman recorded almost entirely by himself during the COVID lockdown. We caught up with Saloman to discuss early musical fascinations, the pros and cons of recording alone, the state of psychedelic music, his substantial collection of singles, and the ways in which ageing—he’s nearly 70—has and has not had an impact on his music.
Floating in the ether once again. Radio Free Aquarium Drunkard returns for its regular third Sunday broadcast. October 17 from 4-8 PM Pacific. Observations of Deviance, an hour of righteous jazz vocals, Range and Basin, Doom and Gloom From the Tomb, and an hour of Sidecar Transmissions from Justin Gage.
Sketch for summer.. 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
Ryan Walsh brings us a look at Till The Stroke of Dawn: A Discography of New England Garage Bands from the 1960s. Compiled by Aram Heller of Stanton Park Records, this 64-page publication from 1993 took on the massive, laborious, pre-internet task of trying to paint a complete musical picture of a time and a place.
Songwriter James Yorkston answers questions from Aquarium Drunkard, Simon Raymonde of the Cocteau Twins and crime novelist Ian Rankin, concerning his spontaneous new folk rock album The Wide, Wide River, and beyond.
Choose your own adventure. 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
In 1965, White Whale Records scored a massive hit with its very first release, the Turtles’ “It Ain’t Me Babe.” For the next five years, the label released over 150 singles and 24 albums. The recently released The Land of Sensations & Delights: The Psych Pop Sounds of White Whale Records, 1965–1970 rounds up stand-outs from the imprint’s brief but prolific run. It’s the latest project from Grammy-nominated deejay, author, and producer Andrew Sandoval, who joined us to discuss White Whale, record collecting, his work with the Monkees, and the future of boutique archival material.
Bandanna-clad mouth into the mic, via satellite, transmitting from northeast Los Angeles, the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
Well, that was fast. Decade is just about over, and as it draws to a close, its highs look awfully high in the rearview. Presented here, an unranked sprawl of 100 records that stuck with us, managing to break through the noise of an increasingly distracting age, and stick around in our heads.
Tonight and on-demand. An alternate history of popular music if, say, Yaphet Koto, The Electric Piano Underground and Tim Maia reigned supreme.