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On The Turntable

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    Lower Dens

    Lower Dens :: Twin-Hand Movement

    Lower Dens’ 2010 debut. A hazy and hypnotic collection of minimalist shadow pop. Jana Hunter’s autumnal finest.

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    Klaus Schønning

    Klaus Schønning :: Lydglimt

    Rustling wind. Check. Ambient bird calls. Check. Serpentine Hohner Clavinet funk. Check. Originally released in Copenhagen in the winter of 1979, Klaus Schønning’s Lydglimt was reissued in 2020 via the ever-sleuthing Frederiksberg Records. A baker’s dozen, the record is a taut embrace of ice cold synths and a Teac 4-track recorder.

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    Yuzo Iwata

    Yuzo Iwata :: Daylight Moon

    Thumping Velvety boogies, Bardo Pond-worthy zoners, achingly strange ballads, feedback laced freeforms … and more! The (mostly) instrumental record grips hold of you as a reminder of the essence of a true psychedelia in sound, rather than the buzzy ambiguity that the term seems to be placated in of late.

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    Pharoah Sanders

    Pharoah Sanders :: Pharoah (Box Set)

    Everything about Pharoah Sanders’ eponymous 1977 album is a gift. It’s a masterpiece of quiet mystique and joy that almost never was. Despite the fact that the maestro himself was never satisfied with the album and rarely spoke about it, Pharaoh took on a life of its own over the next four decades to become one of Sanders’ most hallowed and revered recordings.

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    Atlas Sound

    Atlas Sound :: Let the Blind Lead Those Who Can See but Cannot Feel

    A beautiful, dislocated trip through bedroom psychedelia, haunted melodies and hazy, otherworldly textures. Like tuning into Someone’s dreams on an old, discarded shortwave radio.

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    Clive Chin Presents

    Clive Chin Presents :: Randy's Dub

    Deep-cut Jamaican dub from 1975. Produced by Clive Chin at Randy’s Studio 17 in Kingston, Jamaica.

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    White Fence

    White Fence :: Orange

    The first White Fence record in over seven years, the chiming guitars and Ty Segall back behind the drum kit and console convey a warbly and mysteriously optimistic guiding light.

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    Van Morrison

    Van Morrison :: Common One

    Common One was the album Van Morrison had been trying to make for ten years. It would mark the furthest he had moved away from the sounds of Astral Weeks, while still maintaining the sonic and literary craftsmanship of the legendary session.

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The Clientele :: Suburban Light

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It can be difficult to verbalize exactly what autumnal records are capable of eliciting. One thing is undeniable: October and November are the months for The Clientele’s 2000 debut album Suburban Light. Perhaps most impressive, the uninitiated would never detect that such an accomplished record was comprised mostly of a smattering of the band’s earlier 7″ singles from the years prior. Though ideal for any season, the record is an impeccable collection of reveries that paint a viscerally evocative picture of sundown strolls with scattered leaves underfoot.

Steve Gunn :: Sundowner

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A long neglected album dates to the beginning of Steve Gunn’s career, when it seemed that the guitarist might become a Takoma-style picker rather than the songwriter/improvisational experimenter he has since turned out to be. The playing is agile and folk-blues focused; the singing, when it comes, is similarly traditional and not as polished as Gunn has become. The music earned the approval of no less than Jack Rose, and its reels and rambles and psychedelic drones feel very much of a piece with the master’s work.

Chrome Chasm :: The Aquarium Drunkard Interview

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The Houston-based trio known as Chrome Chasm features three veteran improvisers doing what they do best — improvising. Together, guitarist Tom Carter (Charalambides), saxophonist/flautist Mlee Marie (Hearts of Animals) and pedal steel-er Will Adams (Lower Dens, Ka-Nives) create bewitching, twilit music that’s somehow both minimalist and wide-open — a vast landscape that somehow contains countless sonic details.

Aquarium Drunkard chatted with Tom, Mlee and Will to find out more.

Miles Davis: Europe ‘71

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Across the Miles Davis electric era there’s no greater divide than that between 1972’s On the Corner and what came before it. But the signposts are there if you know where to look, with recordings from a European tour in the fall of ‘71 revealing Miles subtly, deftly moving the pieces into place for his next iteration.

Jason Dungan & Johan Carøe :: Routine

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Copenhagen-based composers Jason Dungan (Blue Lake) and Johan Carøe join forces on Routine, a quietly transportive collection of ambient folk and new age soundscapes shaped through an exchange of musical fragments. Blending acoustic instrumentation, electronics, and Dungan’s self-designed 36-string zither, the duo arrive at something intimate and unhurried—a luminous meditation on domestic ritual, the rhythms of everyday life, and the quiet wonder of being alive.

Panamint :: S/T

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Panamint began as a studio experiment between longtime collaborators Anna St. Louis and producer Jarvis Taveniere, who reunited to put Taveniere’s new Los Angeles studio through its paces. What started with left-field covers of Post Malone and Helene Smith soon evolved into a set of original recordings, joined by Danny Garcia, aka Reverend Baron. Out this week, their self-titled debut EP draws on the timeless pull of vintage soul and classic pop.

Sam Gendel :: Advanced White Trash

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In his classic book Mythologies, French thinker Roland Barthes criticizes plastic because it can be molded into anything—cheap, colorful surfaces open to infinite transformation. Contemporary pop is made of the same stuff, and Sam Gendel’s Advanced White Trash makes the case for what’s beautiful, even freeing, about it. The record sounds like something that was uploaded to SoundCloud at 3 a.m., a Roland Sound Canvas emulator buffering on a dying phone someone found in a Walmart parking lot, and still it comes out strangely appealing, almost hypnotic.

Ana Palindrome :: A MAN A CURE

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Cork trio Ana Palindrome make a hypnotic blend of art-pop, droning vocals, sawing fiddle, and glitchy folktronica on “A MAN A CURE,” their first release for London’s World of Echo. Beneath its pulsing rhythms and woozy electronics, the track questions the idea of self-made identity, as Niamh Dalton’s voice shifts between the organic and the artificial.

Boards of Canada :: Hi Scores

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Earlier this year, Boards of Canada unexpectedly released their fifth album Inferno, a case of an influential artist demonstrating that their style remains eminently relatable in 2026 a.d. To close out the year, the group has dipped into its archives, re-releasing the 1996 EP Hi Scores. There’s plenty to savor here, especially for longtime BOC listeners, but there’s also something compelling about being able to hear the group’s roots in such close temporal proximity to their current venture.

Transmissions :: Shabazz Palaces

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Our guest this week on the show, Ishmael Butler of Shabazz Palaces and Digable Planets, is used to swimming in waters where science fiction weirdness and musical expression mingle. Shabazz Palaces’ new album, It’s a Style Sport, represents a new high water mark for the Seattle-based rapper; at once memoiristic and mystical, it’s a strange and beguiling listen. This week, he joins Transmissions host Jason P. Woodbury to discuss basketball, his “Afro-fractal” artistic approach, the influence of artists like the Cocteau Twins, and of course, that goofy old standby: what’s it like being a middle aged guy in rap?

All Hallows’ Aquarium Drunkard III

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The music of autumn comes in many shades, but none of them without a little smoke and shadow. The days are growing shorter, the air a little cooler, and it is once again time to light the jack-o-lanterns. In our third installment of All Hallows’ Aquarium Drunkard, the writers reveal the secrets of their spooky season soundtracks. Inside you’ll find doomed teenagers, dissociative episodes, ghost planets, grisly murders and all sorts of monsters, real and imagined. Whatever kind of menace you are looking for, we’ve got you covered.

Willis Alan Ramsey :: The Aquarium Drunkard Interview

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More than 50 years after releasing one of the great cult albums of the early ’70s, Willis Alan Ramsey remains an enigma: a singular songwriter whose long-awaited second record has yet to materialize. But as a recent live appearance and a first-ever vinyl reissue of his self-titled debut attest, Ramsey is very much still here — and already thinking beyond the follow-up he once abandoned. We caught up with the Texas songwriter to talk about the making of a classic, the decades since, and the music still to come.