Transmissions :: Strange Days—A Conversation

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Social distance dispatching. Some background, to start. In recent weeks, we've been assembling elements—interviews, readings, scripts, segments—for the next season of the Transmissions podcast. But the onset of global pandemic has caused us to consider: What feels important right now? Would discussing it help? To that end, we're taking the Transmissions podcast weekly for now, and featuring check-ins between AD founder Justin Gage and editor Jason P. Woodbury. We have a lot of plans for the podcast in the coming weeks, from guest interviews to audio collages, but expect it to be loose. Stay in . . .

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The Lagniappe Sessions :: Ilyas Ahmed

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One of the underground’s most reliable figures for the past decade-and-a-half, Ilyas Ahmed isn’t an easy artist to pin down...for his debut Lagniappe Session, Ahmed doesn’t bother digging out obscurities. Instead, he offers awesomely fresh spins on classics from the Rolling Stones, Joy Division and the Velvet Underground, turning these well-worn tunes inside out and revealing new colors . . .

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Shabaka & The Ancestors :: We Are Sent Here by History

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We Are Sent Here By History is a spiritual awakening and an homage to African and Caribbean traditions. Recorded exclusively in Johannesburg and Cape Town, with a collective of South African musicians, Shabaka says this of the album, “We Are Sent Here by History is a meditation on the fact of our coming extinction as a species. It is a reflection from the ruins, from the burning. A questioning of the steps to be taken in preparation for our transition individually and societally if the end is to be seen as anything but a tragic defeat . . .

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African Head Charge :: Drumming Is A Language 1990-2011

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As a sequel to their early album collection Environmental Holes & Drastic Tracks 1981 – 1986, African Head Charge have compiled the later years of their On-U Sound recordings in this 5CD, 9LP set. Alongside expanding their classic ’90s albums Songs of Praise and In Pursuit of Shashamane Land with bonus tracks, they have pressed 2005’s Vision of a Psychedelic Africa and 2011’s Voodoo of the Godsent on vinyl for the first time . . .

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Blake Hargreaves :: Improvisations on the Pipe Organs of Europe

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Blake Hargreaves’ musical resume is unusual, to say the least. He is possibly best known in subterranean circles as the founder of Montreal’s Cool Fest, a mind-scrambling sound and art gathering numbered by year (the first edition, Cool Fest 7, occurred in 2007). Over six years, it welcomed such titans as Bill Nace, Jenny Gräf, Sick Llama, Mouthus, Yamantaka // Sonic Titan, and the almighty Fat Worm of Error

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The Comeback Kids: The Wrens And Their Long-Awaited New Album

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When the four members of the New Jersey-based band The Wrens set to work on the follow-up to their 2003 record, the critically-lauded The Meadowlands, Wrens guitarist and vocalist Charles Bissell promised himself things were going to be different. This is that story . . .

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

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Black sand blues. Transmitting via satellite somewhere off the coast of Los Angeles. SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.

34.1090° N, 118.2334° W . . .

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Mosses :: T.V. Sun

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A collaboration with Danette Bordenkircher, it’s a kaleidoscopic trip, encompassing a wide swathe of psychedelia. We’ve got Barrett-era Floyd mayhem, Can-y jams, Espers-esque folk (Meg Baird even drops in for a guest spot), OG Modern Lovers boogies and much more . . .

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Rachel Grimes :: The Aquarium Drunkard Interview

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Part family memoir, part investigative fiction, part historical exploration, Rachel Grimes' The Way Forth is a multi-layered Southern epic that digs below the foundational myths of the country to uncover the true experiences of people often left out of the historical narrative . . .

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John Martyn :: Rockpalast 1978

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John Martyn recorded his 1978 masterpiece One World with a cast of characters that included Lee “Scratch” Perry, Steve Winwood, Pentangle’s Danny Thompson and Fairport Convention’s Dave Pegg. But when it came time to promote the album live, the songwriter went out solo – and this selection from his appearance on the German Rockpalast show is a dazzling document of the era . . .

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The Lagniappe Sessions :: Ben Watt

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“Shed a skin, it’s no big thing," Ben Watt sings on "You've Changed, I've Changed," one of the 10 songs that makes up the Everything But The Girl co-founder's new album, Storm Damage. Watt's long career has demonstrated his ability to shift approaches, but no matter the format—glistening electronic music or autumnal Britfolk—his thoughtful voice remains constant. For his first ever Lagniappe Session, he brings two gorgeous covers of Sharon Van Etten's "Comeback Kid" and Ten City's "That's The Way Love Is . . .

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Mark Neeley/Yohei Shikano :: Fragments

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The human mind is an intriguing place, especially in the way we enforce patterns and structure on to the world around us. This includes the way we conflate events, even if they don't technically connect. This idea is at the heart of a short animation by artist Mark Neeley called "Fragments . . .

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Sam Gendel :: The Aquarium Drunkard Interview

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We caught up with Sam Gendel to learn more about the spontaneous production of Satin Doll, his friendship with Louis Cole, touring with Ry Cooder, collaborating with indie rock veterans, and navigating his peculiar relationship with jazz . . .

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Blanks And Postage :: The 21st Century Cosmicomics of Jesse Jacobs

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“Psychedelic but readable” is how the proprietor of my local heady art emporium, Desert Island Comics, introduced me to the work of Jesse Jacobs a few years ago. While an accurate blurb, it only barely covers 2017’s Crawl Space, the Canadian artist’s breakthrough full-length book as a sequential narrative-maker . . .

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Jon Hassell :: The Aquarium Drunkard Interview

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Vernal Equinox introduced a new form of music, which Hassell and others who followed him called “fourth world,” a mix of classical Indian music, electronics, jazz, field recordings and ambient music.

More than 40 years later, the record still feels timeless and fresh, floating in a liminal space between the age-old traditions of raga and the innovations just beginning in electronics and tape manipulation . . .

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