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Sidecar (1.10.2022)

It's time for another issue of our weekly newsletter, Sidecar. A round up of this week at Aquarium Drunkard, pop culture recommendations, and more. 


The Soundcarriers :: Wilds

A welcome return to ring in the new year, Nottingham, England quartet The Soundcarriers have emerged from an eight year hiatus following their 2014 long player, Entropicalia. Multi-instrumentalist Paul Isherwood describes Wilds as summing up a number of the band’s eclectic influences, a body of work which can be channeled back to an early infatuation with the soundtrack to John Barry's <i>Midnight Cowboy</i> (a central signifier of the group’s highly cinematic feel). 

Little Barrie & Malcolm Catto :: After After

A hypnotic and heady serving of instrumental psych-funk, Little Barrie & Malcolm Catto’s “After After” burns slow and low. We happened upon this nasty eight minute piece of work over the break, and immediately placed the groove on repeat for the next hour. That said, ad infinitum could be the move as well. Try it. 

Aquarium Drunkard Presents: Castle Dogs | A Mixtape

Castle Dogs is a sixty minute slow boil of post-punk and new/no-wave, mixed live from Uncle Tio’s collection and dubbed to tape exclusively for Aquarium Drunkard. Each tape features exclusive artwork and an instant photo of the tracklist. Play at full volume.


Jennifer Castle :: The Aquarium Drunkard Interview

Late last month, on the Winter Solstice, Jennifer Castle re-released a live recording from the Music Gallery in Toronto from 2006, the first recorded output of her now treasured career, and a document harkening back to the early days of when she recorded under the name Castlemusic and played with a wild and rambling sense of discovery and abandon, allowing the spirit of her own poetry to lead her fingers on guitar. We recently caught up with her to discuss the re-release of Live at the Music Gallery, her musical origins, the omnipresence of the personified world in her music, her connection between singing and water, the urge to wander, and where she goes from here. 

Videodrome :: Lions Love (1969) and Agnes Varda’s Los Angeles Happening

In 1968, Agnes Varda and her husband Jacques Demy found themselves in Hollywood. As the story goes, the French filmmaking couple were taking a vacation. They simply fell in love with the city and Demy felt compelled to shoot a movie there. Recently, Demy’s film has gotten some attention and reappraisal after being cited as an inspiration for Quentin Tarantino’s Once Upon a Time in Hollywood. For one thing, Model Shop has a good amount of driving around 1968 Los Angeles with the radio on. But let’s take a look at the film that may in fact echo Tarantino’s opus in some more interesting ways. A few months later, on September 20, 1969, Varda released Lions Love, a movie that absolutely defies any sort of easy classification

New Transfigurations: Recent / Recommended 21st Century Guitar Music

The guitar underground continues to evolve in weird and wonderful ways. With so many talented players emerging on a regular basis, it can be hard for even the die-hards to keep up. But we’ll keep trying…Here’s a handy roundup of some recent and recommended releases, ranging from classic Takoma School fingerpicking to otherworldly ambient excursions. 

Picastro :: I’ve never met a stranger

Toronto’s Picastro first emerged in the mid 1990s as the slowcore indie-rock outlet of songwriter Liz Hysen. In the intervening decades, she has welcomed a rotating cast of collaborators, released a pair of albums with Polyvinyl, and maintained a cult following through a steady drip of downcast songs with shivering orchestral flourishes. On her latest covers EP, I’ve never met a stranger, Hysen is accompanied by a gang of local luminaries that includes members of Mas AyaMarker Starling, and Badge Époque Ensemble

Do You Fall? …And The Evolution Of WEEED

When WEEED began kicking around Portland, Oregon in 2008, it was easy enough to file the band alongside other “Sweet Leaf”-inspired doom metal bands. But in the intervening years, the group has expanded and deviated, incorporating elements of psychedelia, jazz, kosmiche, jazz, and folk rock along the way. Though removed from their early days as a “hippie metal” outfit (as the band jokingly but not inaccurately labeled itself initially), WEEED have located a meditative sweet spot. There may be fans who bemoan the fact that WEEED has strayed so far from the heavy altar, but the band’s creative journey has proved both playful and deeply felt—a helluva ride.

Thanks for opening up another issue of Sidecar. Do you dig it? How about our weekly show on Sirius/XM, the Transmissions podcastThe Lagniappe Sessions—where your favorite artists cover their favorite artists—and our deep dive interviews, monthly radio broadcast on Dublabmixtapes, and audio/visual joints? Support us on Patreon to take part in it all happening. 


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Aquarium Drunkard · Hillhust Ave · Los Angeles, CA 90027 · USA