Honor Thy Hidden Intention: A.A. Bondy on the Rebirth of Enderness

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A.A. Bondy is back with Enderness, his first album in nearly eight years. Forsaking the minimalist folk of his previous records, it embraces synths and digital textures, demonstrating Bondy's willingness to keep driving at new approaches: "...Joy Williams...talks about once you figure out how to produce an effect as a writer, you have to discard it, every time . . .

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The Lagniappe Sessions: Garcia Peoples

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Riding the technicolor trails of last year’s debut Cosmic Cash, Peoples have recently returned with Natural Facts, which rips and roars. For their first-ever Lagniappe Session, Garcia Peoples tackle classics by Pearls Before Swine and Bob Dylan, channeling the latter's wild collaborations with the late Mick Ronson . . .

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Endless Boogie: Vol I, II

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Primal Boogie! This necessary collection from No Quarter brings together the first two Endless Boogie albums: four sides, six glorious jams, recorded on two mics straight into a cassette deck. To call them “out of print” isn’t quite correct – they were barely ever in print at all. Self-released in minuscule pressings in 2005, the LPs both been longtime collectors’ items (and for those of us without deep pockets, passed around in low bit-rate mp3 versions). Now they’re back, and with a totally sweet gatefold, to boot . . .

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75 Dollar Bill: I Was Real

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75 Dollar Bill’s latest, the ambitious double LP I Was Real, might be their most satisfying work yet, bringing together a kaleidoscopic range of approaches, from expansively tranced out jams to blazing, stripped down duo workouts. This thing sprawls, but never meanders – its 70 minutes fly by. Wherever Chen and Brown take the listener, they do it with a pure sense of adventure, riding the current fearlessly . . .

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Stereolab: Transient Random-Noise Bursts With Announcements/Mars Audiac Quintet

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Stereolab’s catalog stretches over two decades of constant experimentation and subtle reinvention that began in 1990 when Tim Gane and Laetitia Sadier (the only two constant members) first formed the group. Transient Random-Noise Bursts With Announcements (1993) and Mars Audiac Quintet (1994) are their second and third “proper” albums, following in the wake of numerous DIY singles and EPs, and the full-length debut, Peng! (1992). The two albums, which have just been reissued with several extra tracks and demos, mark a period of transition for the band, one during which they became more conscious of sound and . . .

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Marvin Gaye: Where Are We Going? (alternate mix 2)

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The newly released You're the Man is a "lost" album by the late, great Marvin Gaye. Originally cut in 1972 as the planned follow up to What's Going On, Gaye shelved the release. But now, it's been sequenced, edited, and sent out into the world. It's a great listen through and through, but the fourth song, "Where Are We Going?" is the one we currently can't stop playing. Universal and intimate, it captures everything that made Gaye's music from this era so undeniable. It's hard to make it sound this easy . . .

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Protomartyr: No Passion All Technique

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2012's No Passion All Technique set up Protomartyr as purveyors of midwest existentialism and raging post-punk. Newly reissued and expanded, revisiting the album reveals how much about Protomartyr was in place from the very start. "I thought, 'Here's my chance to get this all out," says frontman Joe Casey . . .

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O Terno :: atrás/além

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atrás/além, O Terno’s 2018 masterwork. The Sao Paolo-based trio’s latest full-length is brimming with psilocybin-friendly arrangements, cavernous grooves, and Tim Bernardes’ intoxicatingly soulful tenor. Not to mention cameos from Shinataro Sakamoto and Devendra Banhart . . .

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The Aquarium Drunkard Show: SIRIUS/XMU (7pm PST, Channel 35)

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Lots of coast, lots of canyon. The Aquarium Drunkard Show / SIRIUS XM, channel 35. Wednesdays. 7pm California Time.

34.1090° N, 118.2334° W . . .

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Stevie Wonder: Musikladen, 1974 / German Television Broadcast

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If you weren't looking for something reeall funky, WALK AWAY RIGHT NOW. Laid down for German television in 1974, in the midst of one of the strongest four-album runs ever, Steve Wonder and his band (Wonderlove) go hard. Reference aside, ignore the below setlist. This 31 minute performance is very much it's own thing..something to get lost in, as evidenced immediately, via the opening jam . . .

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Transmissions Podcast: Foxygen/Rozi Plain/Juan Wauters

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Welcome to the April edition of the Aquarium Drunkard Transmissions podcast—your monthly installment of conversations about music. This episode: Jonathan Rado of Foxygen unpacks "Seeing Other People," Rozi Plain talks Sun Ra, and Juan Wauters on "La Onda de Juan Pablo" and "Introducing Juan Pablo . . .

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From the Eagle Mall to Terrapin Station: A Skeleton Key to Robert Hunter

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Dig this. Jesse Jarnow on "The Giant's Harp," Grateful Dead lyricist Robert Hunter's mysterious novel set in the expanded "Terrapin Station" universe and how it connects to a lost suite of 1968-1969 Dead tunes by Jerry Garcia . . .

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Lou Reed, John Cale & Nico :: Le Bataclan, Paris 1972

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“This is a song about copping drugs in New York...”

Taste the whip. Captured in January 1972, a year and half following Lou Reed's hard exit from the Velvet Underground, we find ourselves at Le Bataclan theatre, Paris, France. The occasion marked a semi-impromptu reunion of the former VU bandmates. For a night, anyway. Recorded via the club's soundboard, and broadcasted on the French television program, Pop2, the fourteen track setlist finds the trio pulling from their individual solo catalogs, as well as vintage VU chestnuts ("The Black Angel's Death Song . . .

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Jerry David DeCicca: Bruce Springsteen’s “Hello Sunshine”

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Songwriter Jerry David DeCicca has never been shy when it comes to Bruce Springsteen. Whether that means discussing the artist’s work through the lens of mental health care or offering up a fine rendition of the Boss balled “If I Should Fall Behind” for Aquarium Drunkard’s Lagniappe Sessions series, DeCicca’s Springsteen fandom runs deep . . .

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Iggy Pop :: Fire Girl (Demo)

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Despite its status being Iggy Pop’s best selling album, the 1986 David Bowie produced Blah-Blah-Blah has not fared near as well in terms of posterity. Critically speaking, anyway. Big on sleek 80’s era production, Pop has largely distanced himself from the work in subsequent years. And while some of the criticism of the now dated production is not without merit, there are some gems to be had in this largely forgotten album. Tracks such as “Isolation” and “Baby, It Can’t Fall” benefit tremendously from Bowie’s backing vocal arrangements (despite Wikipedia’s . . .

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