Andy Boay returns with an opus crafted with ecstatic care: a journey of reverbed vocals and guitar noodles, a lo-fi love letter, a bedroom _SMiLE_ , and its own thing completely: _Doomed_. _Doomed_ shares the same creative DNA as its brilliant predecessor, 2025’s _You Took That Walk For The Two Of Us_ : another painstakingly crafted cassette recording, with tape manipulation galore and self-harmonies aplenty. The post Andy Boay :: Doomed first appeared on Aquarium Drunkard.

Jeremy Cunningham makes music that seems to be perpetually slipping out of its own frame. On _Passing Fires_ , the Chicago drummer moves from free-jazz and skronk to electronics, funk, post-rock and pop, assembling a cast of improvisers, producers and singers who keep the music in motion. There are moments of muscular rhythmic interplay, strange electronic textures, children’s voices, whispered vocals and unexpected turns. It’s an album of restless curiosity, but never restlessness for its own sake: Cunningham’s drumming provides a steady gravitational pull as the music wanders. The post Jeremy Cunningham :: Passing Fires first appeared on Aquarium Drunkard.

Broadcasting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. Inspired alliances and loose connections. West Coast twilight, boot cuts, alternate takes, live excursions, stray transmissions and wayward frequencies. 34.1090° N, 118.2334° W The post The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35) first appeared on Aquarium Drunkard.

The latest archival installment from the Somalian hotel band shows an unwieldy group streamlining their sound in the studio, dialing up the hooks, battening down the rhythms and keeping the grooves on point. Taking inspiration from Motown and disco as much as reggae and Afrobeat, the Dur-Dur Band kept the wild 70s alive even as the ugly 80s were taking over. The post Dur-Dur Band :: Volume 3 (1988) & Volume 4 (1989) first appeared on Aquarium Drunkard.

Certain people play guitar in a way that is immediately recognizable, no matter the context. Our guest this week on Transmissions, Johnny Marr, is one such guitarists. A founding member of legendary indie band The Smiths, his sound is undeniable a blend of jangle, chime, bite, and attitude. He's back with a new album _The Age Of Everything,_ which he joins us to discuss. Along the way, we also get into the global influence of The Smiths, discuss how Black American musicians inspired his sound, and share some of his less apparent influences, including Neil Young, who if you hear Marr tell it, played a rather pivotal role in the development of British punk rock. Style, sound, and the "politics" of guitar: Johnny Marr on Transmissions. The post Transmissions :: Johnny Marr first appeared on Aquarium Drunkard.

_Future Sounds of Jazz Vol. 16_ is both a forecast and a wormhole. Across two discs, Michael Reinboth and Michael Rütten move through jazz, dub, electronic music, improvisation, and psychedelia with the intuitive logic of a late-night DJ set. The result is a strange, elastic universe of DJ Oil, Bitchin Bajas, Booker Stardrum, Nico Zam, Ilhan Ersahin, and Momoko Gill—and a reminder that the future of jazz remains gloriously undefined. The post Future Sounds Of Jazz Vol. 16 first appeared on Aquarium Drunkard.

Protomartyr’s seventh album _Hotel Usona_ (short for United States of North America) creates a fitting soundtrack as the country is pummeled by bad reviews. The Detroit veteran band envisions their homeland as a decrepit hotel where one of the TV channels is a live feed from Trump-Kennedy Center. The hotel is coincidentally located in Anacita, a fictional coastal town created by Casey for 2017’s Relatives in Descent. It’s the kind of place where the “liberal-minded close their eyes and dream of technology and kombucha.” The post Protomartyr :: Hotel Usona first appeared on Aquarium Drunkard.

As a member of Sonic Youth, Drift, and his many other musical detours, Lee Ranaldo has treated the guitar as a pure sound source, creating dynamic new expressions in rock & roll and the avant-garde alike. But Ranaldo's new project, a soundtrack to director Joris Postema’s "eco-doc" _The System,_ presents a new side of Lee, that of a filmic composer. To commemorate the album's release, Ranaldo sent over notes about nine other guitar-centric soundtracks that serve as conceptual inspirations for _The System._ The post Lee Ranaldo :: Guitar-Centric Film Soundtracks first appeared on Aquarium Drunkard.

What, exactly, is Across the Horizon? It could be accurately described as a podcast, a radio show, an imprint or even a genre; it’s also resulted in a host of compelling collaborations and a series of songs that push at the boundaries of what could be considered ambient music. "It’s like watching a musical community grow in real time," says Bob Holmes. Here’s a look at 10 standout songs from Across the Horizon thus far — music that demonstrates the breadth of the series as a whole. The post The Aquarium Drunkard Guide to Across the Horizon first appeared on Aquarium Drunkard.

On the veteran Swedish outfit's most pared down and elegant affair, _Vidrig Vår_ showcases Dungen still operating on a psychedelic wavelength not found elsewhere. Built around bandleader Gustav Ejste's panoramic piano progressions, the ballad-centric record flows with the weightless springtime atmosphere of the band's organically cinematic orbit. The post Dungen :: Vidrig Vår first appeared on Aquarium Drunkard.

Asher White goes maximalist on _Love Aggregates_ , building heavy doses of orchestral power pop from her bedroom. A fragmentary heartbreak album touching on dysphoria, precarious labor, Jerry Garcia, Citi Bikes, and Flatbush in the snow, it transforms intimate falsettos, arpeggiating guitars, and toy piano melodies into a luminous, redemptive vision of love. The post Asher White :: Love Aggregates first appeared on Aquarium Drunkard.

Paul Simon’s 1986 album _Graceland_ exists in this weird state, an album that eternally evokes 1986, but always sounds so different from other albums of its era. It’s an collection that’s self absorbed, but also so relatable when the listener finds themselves hitting middle age. It brought world music to the forefront, but also presented a misleading picture. It’s a fascinating study in contrast and now, some 40 years later it’s an album we still can’t make up our minds about even as we listen to it for the hundredth time. The post Those Were the Days of Miracle and Wonder :: Paul Simon’s Graceland at 40 first appeared on Aquarium Drunkard.

Broadcasting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. Subterranean nocturnes dissolve into the horizon. Somewhere between Tokyo, NYC, Caracas and outer space—electric jazz, Japanese fusion, polyrhythms, Rio groove, cosmic funk, library exotica and studio alchemy. 34.1090° N, 118.2334° W The post The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35) first appeared on Aquarium Drunkard.

For many, _Forever Changes_ is where the Love story ends. Whether viewed as a retooled evolution of the band or simply that of Arthur Lee, _Four Sail_ is an essential part of the Love discography. With a driving edge partly recalling the proto-punk energy of _Da Capo_ with the modern hard rock zeitgeist of 1969, Lee's superb new lineup delivers the intentions behind "combining the east and west coast sounds with the European sounds, plus a few of my own ideas". The post Love :: Four Sail first appeared on Aquarium Drunkard.

This week on the show, guitarist and psychotherapist Matt Baldwin, who is here to teach you _How To Play Guitar._ OK, not exactly. But Baldwin is the author of ⁠How To Play Guitar⁠, a series of zines that have been collected into a handsome book edition. If you’re just picking up the instrument, well, Baldwin isn’t writing about how to play a C chord or run scales. These aren’t “how to” guides so much as “why to” prompts, stressing intuition over technique, dismissal of music industry norms, and the imperative to hone a singular, personal philosophy regarding the instrument—think Captain Beefheart’s “Ten Commandments of Playing Guitar.” In this talk, we discuss his own guitar journey, the paranormal, John Fahey, Philip K Dick, and much more. The post Transmissions :: Matt Baldwin first appeared on Aquarium Drunkard.

At 80, Neil Young remains gloriously unfinished. _Second Song_ , his latest with the Chrome Hearts, is a weathered, luminous meditation on memory, mortality, love, and the strange passage of time. With shimmering textures, warm harmonies, wandering tempos, and that unmistakably vulnerable voice, Young looks backward without quite letting go of the future. An elegiac, deeply human record from an artist still searching for the song. The post Neil Young and the Chrome Hearts :: Second Song first appeared on Aquarium Drunkard.

At 70, Brazilian percussionist Índio da Cuíca reinvented himself as one of the country’s strangest musical voices. His cuíca—usually a squeaky rhythmic accent—is transformed into a melodic instrument of uncanny virtuosity, set against samba, capoeira, Afro-Brazilian spirituals and warped pop forms. On _Zing Zing_ , that “avant-traditional” vision expands further, as cavaquinho, pandeiro, berimbau and bandolim collide with guitars, synths and samples. Samba music from some parallel universe. The post Índio da Cuíca :: Zing Zing first appeared on Aquarium Drunkard.

_Hug_ is music for the small hours, when the world comes in and out of focus, a record that drifts through the mind’s open windows, carrying with it the sublime and resonant hush of a world at peace in its own unfolding. As warm and comforting as the name implies, Hug embraces you like an old friend, holding space for the warmth of the past, the uncertainty of the future, and the solace of the blossoming present. The post HUG :: HUG first appeared on Aquarium Drunkard.

Maddy Prior and June Tabor’s _Silly Sisters_ is a magical hinge album, a meeting of two transcendent voices and a jolly band of British folk masters. Recorded in 1976 but somehow outside of time, its ancient songs, close harmonies, and loose, luminous performances summon something older than the British folk revival itself. Fifty years on, it remains a timeless gem hiding in plain sight: raw, sophisticated, mysterious, and still not quite given its due. The post Maddy Prior & June Tabor’s Silly Sisters at 50 first appeared on Aquarium Drunkard.

Freeform transmissions from Radio Free Aquarium Drunkard on dublab. Airing every third Sunday of the month, RFAD on dublab features the pairing of Tyler Wilcox’s Doom and Gloom from the Tomb and Chad DePasquale’s New Happy Gathering. This month, Chad kicks it off with a roundup of recent 2026 digs. Tyler follows with an hour of existential daydreams and autumnal instrumentals. Sunday, 4-6pm PT. The post Radio Free Aquarium Drunkard :: September 2026 first appeared on Aquarium Drunkard.

Are things feeling autumnal at long last? Not quite. But maybe this selection of recommended sounds, old and new, can help usher in the cooler, crisper season. Bandcamp Friday only rolls around every couple of months. But remember, you can always add a buck or two to the asking price of any album on the platform and voila — every day is Bandcamp Friday. The post Bandcamping :: Autumn 2026 first appeared on Aquarium Drunkard.

The ’70s didn’t end. They just got more elastic. Strut’s _Nigeria 80_ catches Nigerian popular music in that beautiful, unruly stretch between Afrobeat’s explosion and whatever came next—juju, funk, highlife, reggae, proto-hip-hop, and plenty of glorious cross-pollination along the way. The post Nigeria 80: The Explosive Sound World of 1980s Nigeria first appeared on Aquarium Drunkard.

Aquarium Drunkard’s Lagniappe Sessions have been rolling along at a steady pace since 2011, bringing together a global lineup of artists to offer up cover versions of a few of their favorite tunes. And some of the most imaginative Lagniappes have been those that deliver purely instrumental pleasures, embracing melody, rhythm and texture. We’ve gathered together a 90-minute sampling of those covers from over the past decade, which range from MPB bliss-outs to Takoma School dreamscapes, from free-funk workouts to orchestral jazz. And beyond! The post The Lagniappe Sessions :: Instrumentals (2016-2026) first appeared on Aquarium Drunkard.

Broadcasting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. A signal from the afterlife of the ’60s—soft-focus surrealism, garage psych, baroque pop, pastoral folk, English eccentricity, studio alchemy and outsider visions. 34.1090° N, 118.2334° W The post The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35) first appeared on Aquarium Drunkard.

Minneapolis lifer Jim Blaha goes it alone on Hang From A Cloud, a raw, bedroom-recorded set of wistful garage-psych and punk songs that crackle with romantic desperation. From the breathy “Some New Day” to the furious, sotto voce anthems of “D.O.A.,” Blaha distills decades in the underground into something intimate, ferocious, and beautifully unvarnished. The post I Will Die In This Jean Jacket :: Hang From A Cloud first appeared on Aquarium Drunkard.

This week on the show, comedian James Austin Johnson joins us to dive into the music nerd obsessions of his new comedy special _⁠He'll Yeah⁠._ You've likely seen JAJ on the TV. He's known for portraying Donald Trump, Joe Biden, and occasionally, Bob Dylan, on _SNL_. But _He’ll Yeah_ ’s vignettes and on-stage footage find Johnson creating a more "indie rock" styled special. Along the way, we talk Bob Dylan, the perils of political comedy, and much more. The post Transmissions :: James Austin Johnson first appeared on Aquarium Drunkard.

A live recording of three jazz masters in transitional phases of their careers, _The Third World-Underground_ captures Abdullah Ibrahim (Dollar Brand), Don Cherry and Carlos Ward embarking on a joyous, lyrical and profoundly stomping set of tunes, teeming with fanfares, shouts and unruly dances. Newly reissued and remastered, this once Japanese-only release is ready to find its rightful audience. Where Ibrahim, Cherry and Ward are going, they don't need bass or drums. The post Dollar Brand/Don Cherry/Carlos Ward :: The Third World-Underground first appeared on Aquarium Drunkard.

Stunning psychedelic baroque pop meets Latin-influenced west coast jazz. The story of teenage sisters Wendy & Bonnie and their sublime 1969 record _Genesis_ is one for the books, recorded on the Skye label of family friend and vibraphone extraordinaire Cal Tjader and Gábor Szabó. Brimming with gusto and the sisters' youthful ambition yet confident and chilling sunshine pop harmonies, the duo's lone album is a maturely stunning accomplishment on several fronts. The post Wendy & Bonnie :: Genesis first appeared on Aquarium Drunkard.

Bonnie ‘Prince’ Billy’s live show can be any number of things—a solo acoustic ramble through covers and oddities and absurd stories, an electrified duo with Superwolves’ Matt Sweeney, or, occasionally, and if you’re lucky, a full-band interpretation of old and new songs that makes you think of them in new contexts. _Ghosts of American Psychonauts_ is very much the latter, eight songs recorded at the Pico Union Project in Los Angeles in February 2025... The post Bonnie ‘Prince’ Billy :: Ghosts of American Psychonauts first appeared on Aquarium Drunkard.

You might find yourself succumbing to shorthand hyperbole when trying to describe _Rose Delta Rising_ , Nick Jonah Davis’ remarkable new album. Ry Cooder joining Pentangle? Peter Green playing on Bryter Layter? Sonic Youth covering Avocet? Rose Delta Rising can stand up to any such fanciful daydreams, but it adds up to much more than just music nerd wish fulfillment, delivering a highly personalized and singular listening experience. The post Nick Jonah Davis :: Rose Delta Rising first appeared on Aquarium Drunkard.

With In _Another World: The Four Seasons of Talk Talk_ , music writer Graeme Thomson charts one of the most mystical trajectories ever undertaken by a one-time pop band. Today marks the 40th anniversary of the band's final live performance in Spain. To commemorate, we're pleased to share an edited extract from In Another World. The post Well Travelled :: Talk Talk’s Final Live Performances 40 Years On first appeared on Aquarium Drunkard.

Strange and turbulent times call for insistent new theme songs and rallying cries. On _Talking_ , Baltimore’s Crying Laughing answer the call with necessary and emphatic instrumental anthems, driven by a twin alto sax attack and percussion that channels the snap and bounce of New Orleans rhythms. The result feels tightly interlocked, yet constantly in motion. The post Crying Laughing :: Talking first appeared on Aquarium Drunkard.

For her debut Lagniappe Session, Maisy Owen turns to four songwriters who share her gift for making difficult things sound beautiful. From Rosa Lee Carson’s devastating “The Drinker’s Child,” written when Carson was just fourteen, to Townes Van Zandt’s “Snowin’ on Raton,” David Olney’s “Deeper Well,” and Amy Winehouse’s “What Is It About Men,” Owen follows a thread through country, folk and soul-pop songwriting, finding a sweetness in songs that are anything but sweet. The post The Lagniappe Sessions :: Maisy Owen first appeared on Aquarium Drunkard.

Since emerging out of the wilds of Connecticut a few years back, SMG have released three LPs worth of rapturous sounds, each moment filled with pure melody, meditative rhythm and immersive textures, all captured wondrously on vintage 4-track ¼” tape. It’s like Gil Evans arranging an album by Natural Information Society, finding a perfect blend of gorgeously pastel hues and minimalist restraint. The post Secular Music Group :: Volume 3 first appeared on Aquarium Drunkard.

The Mexico City based five-piece Diles Que No Me Maten conjure a languid and mournful psychedelia on their fourth album, _Escrito en Agua_ , infusing krautrock and slowcore elements into a patiently unfolding album that sears with intensity. The post Diles Que No Me Maten :: Escrito en Agua first appeared on Aquarium Drunkard.

Broadcasting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays. 34.1090° N, 118.2334° W The post The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35) first appeared on Aquarium Drunkard.

Welcome back to Aquarium Drunkard Transmissions with Jason P. Woodbury. This week on the show, writer and musician Sam Sodomsky, who records and releases music—a lot of it—under the name The Bird Calls. His latest slice of literate folk rock and alt-country songcraft is called ⁠ _Take Leave⁠_ , and it was released on August 28 via Ruination Record Co. _Take Leave_ rattles with downcast charm. Its songs are sly and full of knowing. Sam joins us to discuss, talk about his Springsteen fandom, dig into The Blue Nile, and more. The post Transmissions :: The Bird Calls first appeared on Aquarium Drunkard.

An unsung pioneer of the jazz vibraphone, the elusive Philadelphia-born musician Walt Dickerson is best known for his collaborative seventies album Visions with Sun Ra. With a dynamite quartet featuring a young Andrew Hill on piano and drummer Andrew Cyrille, 1962's career highlight _To My Queen_ is a tender, lovingly crafted suite showcasing the vibraphonist's asymmetrical and self-proclaimed plush metallic tones. The post Walt Dickerson :: To My Queen first appeared on Aquarium Drunkard.

Laidback at an almost glacial pace, the silky music of _Massive Shoe_ blurs the line of golden seventies AM pop. The nom de plume of Melbourne-based multi-instrumentalist Dylan Young, Way Dynamic's third record features sparse arrangements and radiant subtleties in songcraft that are a little bit Chris Cohen, a little Nilsson/McCartney. With highlights like "Ibiza" and the effortlessly melodic "Miffed It", it's unsurprising that the timeless quality of _Massive Shoe_ has already garnered appreciation across generational musicians. The post Way Dynamic :: Massive Shoe first appeared on Aquarium Drunkard.

Jake Xerxes Fussell returns with another set of meticulously curated old-time songs played and sung with warmth and grace. The North Carolinian songwriter has a musicologist’s grasp of pre-war folk and blues; he is intimately familiar with multiple versions and interpretations of the songs he performs, reaching across decades, even centuries of history, to find the core of the music. And yet he uses this knowledge not to replicate the past but to reinterpret it, so that the songs live and breathe in his capable hands. The post Jake Xerxes Fussell :: The Old Beloved Path first appeared on Aquarium Drunkard.

The Ghosted trio haven't changed much over the course of three albums, turning out sleek, skeletal jazz with deft regularity. With the addition of Swedish multi-instrumentalist Christer Bothen, guitarist Oren Ambarchi, bassist Johan Berthling and drummer Andreas Werliin deepen their groove while expanding their reach. Thanks to the addition of Bothen's bluesy bass clarinet and earthy donso n'goni, the Ghosted trio comes alive but stays haunted. The post Christer Bothen/Oren Ambarchi/Johan Berthling/Andreas Werliin :: Serpentine first appeared on Aquarium Drunkard.

Rão Kyao's 1976 debut album _Malpertuis_ can be seen as a direct offspring of Portugal's 1974 Carnation Revolution that ended four decades of dictatorship and allowed the country to breathe again—especially in terms of its cultural outpouring, which had been heavily conditioned by a suffocating censorship and recurrent attempts at blocking any external influences that might instigate dangerous ideas of subversion. The post Rão Kyao :: Malpertuis first appeared on Aquarium Drunkard.

Dan Friel is having a summer, what with the surprise resurgence of aughts noise mainstays Parts & Labor and now a fourth album from guitar-centric, astronomy-centric Upper Wilds. Yet while the double disc Parts & Labor veered occasionally towards proggy excess _Mercury_ runs a ferociously tight ship. It’s loud as fuck, but nothing’s wasted. The post Upper Wilds :: Mercury first appeared on Aquarium Drunkard.

Orcutt’s deconstruction of “Louie Louie” is a mash-up of Steve Reich’s 1970 minimalist milestones “Four Organs” with the rock staple. It finds a seam between experimental, avant garde repetition and the dumb but beautiful way that garage rock can hammer on a riff forever. The piece first emerged as a studio album on Fake Estates in 2024. This live recording revisits the piece in all its organ-stabbing, maraca-shaking glory. The post Bill Orcutt :: Four Louies Live first appeared on Aquarium Drunkard.

Constantly meandering in copyright turmoil that renders it inaccessible, 1972's lone eponymous record by American Spring (sisters Marilyn Wilson and Diane Rovell, formerly of girl group The Honeys) is an obtusely captivating slice of baroque pop. A production of Marilyn's husband Brian Wilson along with consummate Beach Boys engineer Stephen Desper, the source material culls tracks from the band's classic Sunflower as well as the The Shirelles, old country standards and the Goffin-King and Tommy Roe songbooks. The post American Spring :: S/T (1972) first appeared on Aquarium Drunkard.

Welcome back to Aquarium Drunkard Transmissions with Jason P. Woodbury. This week, we’ve got something extra special: a behind the scenes look at the forthcoming documentary, _Sun Ra: Door of the Cosmos_ , a sonic cinema odyssey through the life, work and philosophy of the surrealist composer and musician. In addition to a conversation with director Drew DeNicola, this episode will present archival material gathered for the film, including interviews and statements from Ra himself, rare recordings of the Sun Ra Arkestra in action, and previous Transmissions guest Camae Ayewa, also known as Moor Mother, reading from Sun Ra’s _The Immeasurable Equation_. The post Transmissions :: Sun Ra: Door of the Cosmos first appeared on Aquarium Drunkard.

Forget the Beatles. Brazilians love covering the Fab Four in all the different styles (from bossa to Tropícalia and MPB), but some intrepid brasileiros prefer to explore other international trends. _Melô do Embaixador_ digs deep into the country’s under-documented history of American soul, funk, and disco, turning up 27 strange and compelling interpretations from 1968 to 2015. Tim Maia, forgotten bandleaders, anonymous studio bands, disco cash-ins, and one-hit wonders all make appearances, some translated into Portuguese, some in instrumental versions, some in endearingly awkward English, and all revealing a parallel history of Brazilian popular music that has largely escaped critical attention. The results range from faithful to bizarre, but they all make a compelling case for hearing these records on their own terms. The post Melô do Embaixador: Brazilian Soul, Funk & Disco Covers 1968-2015 first appeared on Aquarium Drunkard.

If you make it all the way through to track 21 (of 23), to “Sweet, Sweet Sickly Music”, you’ll hear a tortured guitar unspool against a beat obscured by fuzz. These are hooky songs rotted to phosphorescence, but plodding on nonetheless. The Drin’s tunes live furtively in fetid underground bunkers, where their ear-wormy melodies bounce off muck and concrete. The post The Drin :: I Lost My Way for Centuries first appeared on Aquarium Drunkard.

“I can see the future and I can tell you’re smiling,” sings Nighttime’s Eva Louise Goodman on “Mother of Invention,” a quiet confidence in her voice. It’s the centerpiece of her latest album, _Looking Glass_ , which she says is “an album about thresholds. About opening your heart, taking a leap, and coming out on the other side.” Conceived between a previous life in the woods of upstate New York and a move to Los Angeles, where she currently resides, the album is a swirling mélange of dusty psychedelia and cosmic folk music, full of sepia-toned dreamscapes and tinges of western noir. The post Nighttime :: Looking Glass first appeared on Aquarium Drunkard.

The songs are loose-jointed and exploratory, built on repetitive motifs but more than willing to jettison them. A bass-line snakes around glittering piano runs, the guitar picks out blues-shaded licks and eerie vibrations of slide, and above it all, a woman’s voice winds. “So be it, follow the river,” intones Elena Setién, the Basque singer-songwriter. The music echoes this liquid aura, full of eddies and cascades, but moving forthrightly towards its goals. This is “Land of a Thousand Eyes” an early single that demonstrates how naturally Black Duck expands to a quartet and enters more structured, song-like territories in this second full-length. The post Black Duck with Elena Setién first appeared on Aquarium Drunkard.