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Das beliebte Duo Angus & Julia Stone hat sein Comeback angekündigt und verrät, dass ihr erstes Album seit fast vier Jahren der Soundtrack zum kommenden Videospiel Life Is Strange sein wird: True Colors.

Das Album wurde in den kurzen Zeitfenstern aufgenommen, in denen Angus und Julia nicht an ihren jeweiligen Soloprojekten arbeiteten. Das Album selbst ist einzigartig, da die Gruppe mit den Tracks neues
klangliches Terrain betritt.

Bog Bodies - the band consisting of Robert Stillman, Anders Holst and Seán Carpio delve into deep time to carve sonic abstractions across their self-titled new album on MIC.

Navigating the “liminal territory between noise and signal, chaos and control, form and abstraction,” the trio recorded and mixed the album on an

8-track cassette machine. Bog Bodies is a searching inquiry into the mythologies and magical undercurrents that knit together our existence in the information age.

Bog Bodies opens with a leftfield homage to Superman III, exploring the mythical qualities of technology through a series of angular horn lines that dissolve into the mire of feedback noise on the album’s raking, anthemic title track. Reverberating in tectonic sheets of sound on ‘One That Is Reflected In The Image Becomes All’ and Bog Bodies reaches its climax on the 11-minute ‘Cave Painting 2019’ - a subterranean epic of mystic force, drawn up from the earth in sweeping drones.

Bringing together their combined experiences playing with the likes of Manuel Göttsching, Luke Temple, The Smile and more recently Coby Sey.

Through Crooked Aim has the feel of a record to accompany the listener on epic journeys through strange and daunting territories. Adjust the rear-view mirror and press play as the landscape rolls behind you. Filmic. Atmospheric. Classic, Americana and Folk influences peppered throughout, It's a journey that rolls through valleys, painting its own rich, vivid pictures inhabited by troubled, nuanced characters looking for ways to keep going. Recording it at Old Jet in Suffolk, an old US Airforce base turned creative arts community developed and run by Quin added its own majesty to proceedings. Waking up to see herds of deer walking through the moors and mist whilst surrounded by these aircraft hangers. You can't help but find some of that magic seeping into the recordings.

Welcome to Recreational Kraut, the latest release on the recently relaunched Source Records label. This collaboration between Jordan Czamanski (aka Jordan GCZ) and David Moufang (aka Move D) links back to the ambient experimental beginnings of Source Records in the early 90s, as well as to Conjoint, a project exploring the borders of
improvised music based on ambient, experimental electronics and jazz featuring Karl Berger, Jamie Hodge, Gunter “ruit” Kraus and David Moufang. Recreational Kraut was recorded live in in three sessions in Jordan’s Amsterdam studio in 2018 and 2019. As the title suggests, the album §irts with the term and the “genre” krautrock and it’s prolonged, often improvised instrumental passages.

The equipment used in the late 60s and early 70s was often rather conventional like electric piano, old synthesizers and electric bass guitar - all present on the album’s opener “recreation parts 1-3”. The two instruments shaping the album and giving it a coherence, despite the varied styles and tempos are Czamanski’s Fender Rhodes and Moufang’s lyra-8, an 8 oscillator drone synthesizer which is played
manually via touch sensors, giving it a very expressive sometimes violin-like other times outer-worldly, atonal character. Recreational Kraut’s 11 tracks span beat-less ambient soundscapes to jazzy psychedelia, as well as hints of house, techno, broken beat and funk. Let yourself submerge in the gravitational ¦elds of Recreational Kraut

Full Dose is back! Once again exporting their distinctive brand of mutated dub directly from Glasgow's Southside. The label's 13th release is the work of a new name: Brollachan - "a shapeless darkness that craves bodily form".

As the name would suggest, the music itself evokes a certain eeriness. Brollachan fuses this with the metallic textures and airy rhythms commonly heard on Full Dose records. Tracks like "Hall" could well be written by a smoked-out mythical being, with deep subs and spring reverb-laden tones throughout. Quality stuff.

This juxtaposition of influences continues throughout the release. "Graze" has a particular aquatic feel. Sonar-esque synths punch through the haze and sustained synth sounds keeps the track in midwest territory.

Despite the obvious variety on show here, Brollachan of course keeps fans of the Full Dose sound on-side. "Mad Dawg" is a grimey take on this. General MIDI style sounds appear throughout the intro. This is complimented by intricate drum programming and a growling bassline, to give us a track straight from the 22nd century.

13 releases in and the tight-knit crew behind Full Dose continue to promote a sound that is both unique and reliable - Brollachan is no exception!

Dishwasher_ are the latest disciples of yet another new wave of talent in the fertile Belgian groove and jazz scene. It would, however, be a shame to limit them to the constraints of any given musical style. Ever since their formation in 2019, the Ghent-based trio have been experimenting with all possible genres to create a contemporary sound they can now rightfully call their own. With their self-titled debut album, to be released in April 2023 via Sdban Ultra, they are closing off an impressive first chapter, delivering a unique and diverse yet coherent collection of groove-driven cuts.



While labeling Diswasher_ as a jazz band wouldn’t do them enough justice, it is a fact that improvisation and a certain free approach turn out to be key in the creation and performance process of the album’s tracks. Werend, Louise and Arno specifically aim to capture their live energy and synergy on the album by experimenting with structures and textures, playing with song lengths and implementing influences from various other styles — electronic music in the first place, but as well traces from (Middle-)Eastern and Balkan music, next to dance, hip-hop and even metal.



As a result, the record tends to be a pure and honest representation of Diswasher_’s musical identity and artistic quest over the past years — both as individual musicians and as a band. Saxophones drenched in effects, diverse layers of synthesizers, a bass guitar hopping from fingerpicking licks to deep and drone-like bass tones, drums can sometimes sound like drum computers, and sometimes as subtle rhythmic chords: it’s pretty clear how deep this trio have dived to search and find something totally fresh and new.



Members of the band are Arno Grootaers, Werend Van Den Bossche and Louise van den Heuvel. Their debut album is coming out on Sdban Ultra, the innovative label of Black Flower, ECHT! and Compro Oro (among others). In 2023 they will fully focus on new talent, by signing Dishwasher_, but also KAU (formerly KAU trio) and Schroothoop. Apart from that, you can expect debut albums or EPs by LũpḁGangGang, Bandler Ching, KVR trio and Adja coming out this year. Stay tuned.

Since the release of the highly acclaimed album Mamari (2021), the Muito Kaballa project has continued to develop.


The new album Little Child (2022) starts with a cracker called Inside Outside. The song addresses the hypocrisy and double standards of the European Union when it comes to refugee policy. The group works together with the renowned German/Nigerian musician Ade Bantu and the Angolan guitarist Juresse Amie Tieti Ndombasi and picks up their listeners where they were parked with Mamari. Fat grooves with clearly recognizable Afrobeat influences.


However, the musical journey leads step by step away from the usual sounds of the band. Already the second track Dansez! Dansez! shows that. The sound leads to Angola, Congo and a bit of Mali. The band stacks so many rhythms on top of each other that the word poly appears in a whole new light. It becomes clear that the nine deal intensively with the music that is the source of their inspiration. The gifted guitarist Juresse Amie Tieti Ndombasi puts the icing on the cake with his sound.


Let's continue with No = No. Here at last it becomes clear: Muito Kaballa has escaped from his drawer and is now in free flight, somewhere between jazz, fusion, afrobeat and whatever. But who cares? The sound is convincing, the feet shake to the beat and cannot be calmed down even with great effort and the message "Don't protect your daughter, educate your son" can't be said often enough.


The next song, Memories, reveals completely different sides of the band. While the sound is suddenly much more relaxed and, let's call it jazzy, the lyrics also become much more intimate and poetic. "Keep in mind, it makes you blind, starring in the sun". We don't find out what memories Niklas Mündemann, composer of the song, has in mind here but that shouldn't bother us. We just put on our sunglasses and let ourselves be carried away by the almost epic track, which with its ten minutes of playing time leaves nothing to be desired in terms of diversity. Sophisticated listeners will wonder if Niklas Mündemann listened to a bit of Kamasi Washington while composing. Maybe even a lot? Be that as it may - a special treat in the piece: the trombonist Saskia-Marleen Dahms, who makes a guest appearance on this song, rounds off the sound of the brass section again.


Last but not least, we come to the namesake of the album: the song Little Child builds on the mood of the previous track and rounds off the musical odyssey with a good portion of goosebumps. But the song doesn't just leave its mark on the surface, no, it also gets under your skin. While the melody has considerable catchy tune potential, it is above all the lyrics and the message that grab you here. Niklas Mündemann wrote the song during a phase of mental depression. Above all, psychotherapy helped him to think more positively again and to comfort his own inner child. We've all heard about that child in us. But when was the last time we hugged it? The song Little Child is the perfect accompaniment for this, because when you hear it, you immediately feel hugged, pressed and safe. Another highlight are the incredibly beautiful solos, played by Benjamin Schneider on guitar and Saskia-Marleen Dahms on trombone.


That's the end of the album and, to be perfectly honest, you don't feel left out in the rain, but you do feel left out in a (warm) shower. Time flies when you hear Muito Kaballa's new album and in the end you want more. 4 remixes for the dancefloor are delivered by French producer Kuna Maze, Polish/Angolan duo Lua Preta, French producer La Dame and Brazilian producer Badsista, tipping the remix balance into more female input.

Orange Vinyl

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

Fresh from DOTT’s “Puppy Luv EP” and Rudoh’s “Vinland In Space EP”, Jugaar Records is back and this time with a full-length, double-pack vinyl, and digital compilation bringing together friends from Asia and Europe. The record is testament to the healthy place the Asian electronic music landscape finds itself in and those intrepid producers who are willing to explore new scenes and sounds. It's energy-crew from the off - with UK beatmaker Joe Koshin’s “Astro Wax”, a techy electro work-out that conjures images of futuristic cityscapes and dense urban mazes. Up next, Pakistan-born and label co-boss Rudoh maintains the electro vibe with cut-up hip-hop vocals sprinkled on top of a pulsating bassline in his “KOF”. His records are being picked up by global tastemakers from Emerald to Roza Terenzi to DJ Masda. Don’t sleep!

Moving to the B-side, German-born, London mainstay Voigtmann shuffles and deals a steppy drum pattern and intricate synth-work, with a bassline drenched in that particular brand of funk to get the party going even at the most ungodly hour. Observatory resident Nic Ford closes this disk with an ambient excursion that summons spiritual rave voices from the deep laid atop a lilting synth loop. It’s typical of his ambient performances which have gained much notoriety in Vietnam of late.

Opening the second record is Egyptian gem Hassan Abou Alam whose recent outings on Naïve and Banoffee Pies have gained him much and well-deserved attention. Here, his “Gloom” combines twinkling IDM modes with heavy sub bass experiments primed to stop the most idiosyncratic dancefloors in their tracks. Up on C2, the Version, 3024 and Phonica Records graduate Yak adds breaks to the equation. His “Disk Full” brings together a haunting gated synth and razor-sharp beat programming to devastating effect. Melbourne based, Salt Mines Records honcho Shedbug concludes this side with his hopeful “A Lil Piece” whose soaring synth line will hit all the right emotional chords at all the right times.

On the final side Bangkokian Chalo reminds us why he is one of the masters of this increasingly fully formed scene. His Depth Charge is a muggy dub-laden, electro jam capable of rattling the weightiest sound systems in some of the most twisted raves at the end of some of the darkest Sois. The record is completed by New Delhi linchpin and Boxout.fm resident Monophonik, whose techno/electro “Tumbi” journeys out of the night into a euphoric sunrise moment that will be setting the dancefloors alight come festival season.

repressed !

From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock and hip hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnameable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city’s newest trailblazer: the enfant-terrible of Rio’s music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city’s musical legacy.

“It all started one sleepless night, after watching a Quincy Jones documentary”. Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro “people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects.” The list included some of Brazil’s most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico.

A Pegada Agora É Essa (The Sway Now) is Neves’ second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock'n'roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer.

“My offer to the musicians was complete freedom to express themselves through the songs I proposed – classics like “Summertime”, “Luz Negra” and “Noite de Temporal”, and compositions of my own – creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals Partido Alto (A Pegada Agora É Essa) and Jongo (Jongo no Feudo and Luz Negra); rhythms of African-Brazilian religions like Candomblé (Noite de Temporal) and Umbanda (Forte Apache); and a tribute to newest Rio de Janeiro’s contribution to Brazilian music, the Funk Carioca (Simba)”.

Coming from a musical family, Antonio’s father, Eduardo Neves, was a renowned conductor and a professor at Juilliard School of Music and the California Jazz Conservatory. In the bohemian neighbourhood of Lapa, aged 14, Antonio began his career as a drummer, before experimenting with brass. He would soon become a skilled trombonist and arranger achieving the recognition of his teachers and peers. It wasn’t long before he would be playing with some of the biggest names in Brazilian music, such as Hamilton de Holanda, Leo Gandelman, Moreno Veloso, Kassin and Elza Soares.

His debut album as a trombonist was PA7 (2017, Rock It), released at the same time he was travelling the world playing with artists like Moreno Veloso, Kassin and Leo Gandelman, and recording the albums Jobim, Orquestra e Convidados (2017, Biscoito Fino), with Mário Adnet and Paulo Jobim; and Elza Soares Canta e Chora Lupi (2017, Coqueiro Verde Records). More recently, Neves was the arranger for the acclaimed Little Electric Chicken Heart album, by Ana Frango Elétrico, which has been nominated for a Latin Grammy and voted 2019’s ‘Brazilian Music Revelation’ by The Art Critics Association of São Paulo.

Native to Sweden, the Manchester based artist Bobo has set out to free himself from the terrestrial bonds of earth and explore the ephemeral sounds of the outer atmosphere.
Leaning into this stylistic predisposition, Contact takes characteristic elements from the worlds of dubstep, ambient, breaks, electro and techno to create bold, cinematic textures and otherworldly imagery.

On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as “the middle ground between Robyn and Corrupted, but weirder.”

Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan

After previous releases by Todd Modes, the mysterious K-6000 and long-time Urban Tribe member Kemetrix, 100 Limousines from Detroit presents this new album by DUNN.

A wonderful and deep sound exploration, ranging from peaceful meditative states to echoing sounds from outer space and even some warm Detroit house vibes in between.

In other words, a perfect release to expand 100 Limousines’ off-the-beaten-track catalogue. Bending genres and not sticking to any rules... Just as we like it.

Available to pre-order now! Also some very limited quantities left of 100LIM001 and 100LIM002…

COLLECTION OF SIGH'S EARLY DEMOS, EP & RARITIES ON VINYL -
INCLUDES AN INTERVIEW & LINER NOTES COURTESY OF MAINMAN
MIRAI KAWASHIMA ON THE FORMATIVE YEARS OF THE JAPANESE
LEGENDS.
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought into the band. It was following this shift that the band set about recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence Productions, going on to become one of the country's greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a
vital creative force in the avantgarde field. However, at its core, Sigh has always remained true to its roots of old school metal.
'Eastern Darkness' contains a collection of Sigh's early rare works showing their swift musical evolution as well as the strong utilisation of keyboards in their compositional process throughout. The collection includes the band's legendary demo tapes, 'Desolation' & 'Tragedies', plus their 'Requiem For Fools' EP, along with the 'Far East Gate In Inferno' version of 'The Zombie Terror'. 'Eastern Darkness' is presented on the vinyl format & includes an interview with Mirai Kawashima about the early years of the band, along with his recollections of the origins of each title contained within the release, three decades on from Sigh's formation.

Los Pulpitos“ are gathering their underground-water-crowd and all the depressurized party peepz for this 2nd release on Terra Magica Rec!

Dirk Leyers (Africaine 808/Closer Musik fame) teamed up with no other than Dengue Dengue Dengue’s Felipe Salmón as „Los Pulpitos“. During the pandemic heydays these two sweet’n’tiney tasty Pulpitos went down the deepwater abbys to show dem kids where the dancefloor monsters hide. Expect Candomblé-Afro-Disco-Dubtechno-Polyrythmics gone bubbeling-blub! 1960s-70s-80s-90s-Ragga-Dub-Breaks-Electronic-Cumbia-gone-Deconstructed-Club-2000UK-Mainroom hot tub rub. Leftfield-Shefield-90sExperimental-70sFunk-Psychedelic-Dubstep-UKBass-Wobble! We simply call it: “Tentacle Tech“

In October 1974, the first number of “L'Indépendant du Jazz”, a small self-produced magazine DIY -before punk supposedly invented the concept- was launched by Jef Gilson, Gérard Terronès, Jean-Jacques Pussiau and a few other specialists of a different kind of jazz in France, it looked at the already long career of Jef Gilson and in detail at the album with saxophonist Philippe Maté:
“The ‘Workshop’ is, with Philippe Maté (alto-sax), an undeniable success. Maté is genuinely ‘the’ most inventive French saxophonist since Michel Portal burst onto the jazz scene (who has also worked with Jef Gilson on both “Enfin” and “Gaveau”).”

Even though the author of the article is a mysterious I.H. Dubiniou, and it is difficult to know if it is a real person or a pseudonym used by one of the merry bunch, it is also tempting to hear it as what Jef Gilson really thought about his new discovery. Even more so as the two men would work together over a long period, as Maté became one of the key figures of Gilson’s Europamerica orchestra up until the 1980s.

Philippe Maté had started to make a name for himself with the Acting Trio when they released an album on the BYG label in 1969, and he was also one of the regular sidemen for the Saravah studios (he can notably be heard on albums by Higelin, Fontaine or his cult duo album with Daniel Vallancien).

The album was recorded on 4 February 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on “La Marche Dans Le Désert” by Sahib Shihab + Gilson Unit (recorded ten days later). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since “Le Massacre Du Printemps”), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, (Jean-François Catoire would replace him with Shihab) and Philippe Maté who took top billing, rather than the American saxophonist afterwards. The two albums are however quite different. This “Workshop” is more abrasive, more free. Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B (Gilson specialists would recognise the nod to one of his albums from the 60s), the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer. “An undeniable success”, they said. (by Jérôme "Kalcha" Simonneau)