2001681Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday – Noon EST with an encore broadcast at Midnight EST.

SIRIUS 449: Jean Michel Bernard – Générique Stephane ++ Dorothy Ashby – Soul Vibrations ++ Pharoah Sanders – Love Is Everywhere (excerpt)  ++ Eddie Gale – The Rain ++ Steve Reid – Lions Of Juda ++ Carsten Meinert Kvartet – Blues To Someone ++ Cecil Mcbee – Voice Of 7th Angel ++ Ornette Coleman – All My Life ++ Don Cherry – Marimba, Goddess Of Music ++ Sun Ra And His Myth Science Arkestra – Angels And Demons At Play ++ Joe Henderson Featuring Alice Coltrane – Earth ++ Alice Coltrane – Paramahansa Lake ++ Ellington, Mingus, Roach – Fleurette Africaine ++ Chico Hamilton Quintet – Blue Sands ++ Brigitte Fontaine & Areski Featuring The Art Ensemble Of Chicago – Tanka 2 ++ The Jimmy Giuffre 3 – The Green Country (new England Mood) ++ Duke Ellington & John Coltrane – In A Sentimental Mood ++ The Tony Williams Lifetime – There Comes A Time ++ Kikagaku Moyo – Green Sugar ++ Ryo Kawasaki – Raisins ++ Ramases – Dying Swan Year 2000 ++ François De Roubaix – Survol ++ John Entwistle – Heaven and Hell ++ Bo Hansson – Waiting ++ Earth and Fire – Storm and Thunder ++ Bo Hansson – Hybrillerna ++ Ramases – Molecular Delusion ++ Apple – The Otherside ++ Socrates – Mountains ++ Radim Hladik – Cajovna ++ Alan Hull – Drug Song ++ Ramases – Earth People

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.


Diversions, a recurring feature on Aquarium Drunkard, catches up with our favorite artists as they wax on subjects other than recording and performing.

Holy Sons, the nom-de-tune of Emil Amos, is set to release In The Garden via Partisan Records on October 21st. For this installment of Diversions, Amos tackles the art of the b-side, touching on British psych, stadium rock solo projects, American funk and more. Amos, in his own words, below.


When it gets around midnight and I can officially release myself from the deadlines and stress of the workday, the whiskey glass comes out again and I reach for that stack of records that also represents being a slave to no one. Budgets and matters of capitalism have always controlled most of what we’re delivered as music fans… but there’s always been a trench off the beaten path where artists disregard these constraints, plug straight into the 4-track with barely any preparation (literally what McCartney did on his first solo record) and fly the freak flag with no regard for anyone outside of that small room. This is the natural domain of the B side.


September 29th, Aquarium Drunkard presents an evening with Steve Gunn and special guest Nathan Bowles at The Living Room in Long Beach. Like the Amen Dunes show earlier this year, this is a house show with limited seating. Tickets available here, and we have a couple pair to giveaway to AD readers. To enter, just leave you name along with a video link of your favorite Gunn related track.

Related: Catching Up With Steve Gunn :: Eyes on the Lines


On November 4th, Light in the Attic Records releases to follow up to the landmark  I Am The Center new age box set: The Microcosm: Visionary Music Of Continental Europe, 1970-1986.

Like I Am The Center, the collection was produced and conceived by Douglas Mcgowan (Yoga Records) and offers a look at the cosmic sounds of Europe. Classifications get murky — call these selections neuzeit, prog, kosmische, ambient, whatever you like — but the range of this spiritual sequel is expansive, featuring giants like Vangelis, Ash Ra Tempel, and Popol Vuh alongside less heralded but remarkable composers like Bernard Xolotl, Robert Julian Horky, George Deuter, Enno Velthuys, and many more.

Featuring remastered audio and artwork by entomologist Étienne Trouvelot, the set features detailed notes by Mcgowan along with contributions from Aquarium Drunkard scribe Jason P. Woodbury. As a prelude to the box set’s release, we present here an excerpt focused on Hans-Joachim Roedelius’ Wenn Der Südwind Weht, one of the exceptionally beautiful songs featured.


Several months back I happened upon a survey stating that, according to Neilson, jazz now held the dubious honor of being the least listened to genre in the US. The piece went on state that both “jazz and classical represent just 1.4% of total U.S. music consumption apiece…with classical album sales higher for 2014.”

This soon led to a conversation with pal and record collector/music supervisor Zach Cowie, and we came up with the idea for Abstract Truths, an ongoing forum to invite some of our friends to flex a sampling of their favorites within the medium. Kicking the series off is Cowie, his selections spanning continents, modalities and beyond.

The next two volumes feature Carlos Niño and Eothen ‘Egon’ Alapatt, respectively. Playlist/provenance after the jump.

Abstract Truths: An Evolving Jazz Compendium – Volume One

Jamaica heavy. Here’s one to bookmark and view quickly before it’s taken down, the 1982 Jamaican cult film Countryman, with sounds courtesy of Lee Perry, the Wailers, Wally Badarou, etc. All propers to Studio One for the hat tip.

I like to ‘check in’ with this clip every now and again. You know, like right now. Footage recorded July, 2 1966, a year prior to Coltrane’s passing the following summer. This is also an excuse to give away a couple of copies of the “My Favorite Things” 45 that the label ran in conjunction with the recent release of their John Coltrane – The Atlantic Years In Mono vinyl box earlier this year. So, if that floats your boat, leave a comment below along with one of your favorite Coltrane video clips. Winner notified later this week via email.

Greta Morgan is Springtime Carnivore. A continuation of the strain of melodic psychedelic pop found on her s/t debut, her new album Midnight Room is out October 7th via Autumn Tone. Catch it. Pre-order: here.

cassmccombs_mangylove“Oh, please tell me you academics, how do you wake up from a non-dream?” That impossible question is one of many loosed by Cass McCombs on his latest album, Mangy Love. It appears about half way through opening track, “Bum, Bum, Bum,” a nuanced lament about institutionalized and violent racism, built on a smoldering, descending melodic line. Mangy Love sports a new sound for Cass. His roots-inflected poem-songs have mutated into a snakey hybrid of slow jam soul music, half-Dead guitar psychedelia, and zig-zag no-no wave. All of this with a fuzzy, glow of aural nostalgia. It’s different but the same—the soul of his poetry is as clear and beautiful as it has ever been, minus the endearing sprawl of his past few deposits of work. “You think you’ve heard it all before/ well, here’s once more/we’re all at war/bum bum bum.” I think Cass considers himself a “craftsman” rather than an “artist” or “activist,” striving to attain an egoless practice but unable to tune-out that ear that’s to the ground. A difficult, contradictory endeavor, but he only ever gets better at it. “If it’s so easy, you try… here, you try” he sings from “Medusa’s Outhouse.

That said, attempting to discuss, praise, parse, or “review” work by Cass feels futile and perverted… like lining up with the hapless, helpless “academics.” All head and no heart. Instead, it’s feels more appropriate to think of Mangy Love as an ancient redwood forest, and a spin of the record as a sort of walking meditation, an attempt to listen and to harmonize with the environment.

Cass McCombs :: Bum Bum Bum

Chatter around Cass tends to focus on how he’s mysterious and oblique, a monosyllabic interview, and always-wearing sunglasses. It seems like biographical details follow him around like lost dogs looking for their owner (mange is caused by parasitic mites and afflicts the skin, the surface organ, of man’s furry friend). This is a guy who—in a particularly laudatory profile for The Washington Post—expressed a desire to see all of his records destroyed and that “biography has nothing to do with craft.” Back in 2011, when Cass—bless him—was conducting press via mail, he remarked “the greatest art of any era comes from anonymous sources.” These are provocative claims, but they reveal an artist who wants to melt away into his craft, to assimilate into folk consciousness as opposed to self-consciousness. But we live on an Earth dominated by a capitalistic hegemony. There’s contradiction here: Mangy Love is out now on ANTI- Records; it’s reified art. The inherent sin that sticks to our bones in this “rancid world” until we let go of them and float on up to heaven. “No rhetoric and no gold for bards” he sings on “Cry.” So let’s relieve ourselves of any attention to Cass McCombs the man and focus on the poetry, the sound, and how the two journey together through whatever folk-consciousness our stained brains can muster. Is that a cigarette butt I see in that redwood tree? Is it still burning?

In the spirit of disrupting commodity and to help find points in the forest on which to focus, let’s break down the boundaries of “album” and “song” and allow Mangy Love to bleed into records of the past. Peer at the unseen roots below the tree. Cass has said “Rancid Girl” is a love song, “Opposite House” is about mental illness, and “It” is about seeing a UFO; but we’re trying to forget Cass. Collaged, associative listening may bring about “Brighter” illuminations for these songs, the “Way” to the “Why?” So at this point turn up the volume.