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AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations. Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album. Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening. The first taster of the album to drop is the slick nostalgic ’Lap of Luxury’, sets the tone for the project, a blend between Instrumental Hip-Hop, late 80s R&B and 90''s Smooth Jazz.
Sounds created for no reason. Sounds that come and go, and disappear into the air like a scent, as soon as they materialize. Atonal phrases that hold the meaning of words that existed before the advent of language. The wonders of a vortex pulsing with life. Just as a new discovery is actually a new way of looking to see what has always been there, OOIOO, seemingly from the core of their being, created a world of sound made up of parts well known that is strikingly precise and intensely original. After a six year hiatus, OOIOO has created a new album that goes back to the roots of being a four-piece band. The music shows the full spectrum of the unique sound they have crafted throughout the years, which can only be described as “OOIOO”.
It might come as a surprise that nijimusi was recorded mainly using a conventional rock ensemble of two guitars, bass, and drums. OOIOO viewed their instruments simply as “objects that make sounds”, and took a primitive and basic approach to creating the music. The drum tones fluctuate powerfully through the air, while sounding as if they are being observed under a microscope. Bass notes and electronic bursts are so dense that they sound like they’ve been vacuum-sealed. The arrangement of the tones seem to be almost ancient, transcending the notion of a musical ensemble, suggesting the connectivity and oneness that is inherent in all living creatures.
Founded in 1995 by legendary percussionist/guitarist/vocalist YoshimiO, OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. The music they create is a collection of moments and essences of their favorite sounds, captured as they were created before returning into the ether. In 2016, drummer MISHINA joined the band, allowing more freedom in their rhythmic approach and overall sound. Just as each cell in the body consists of a microcosm of its own, the vibrations of each of the members resonate together to create a new life form, a process reflected in nijimusi.
nijimusi can be considered music, but is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time. If music is an art form based on the sense of hearing and the concept of time, this album may be deviating from the conventional definition of music. The work is a reflection of the sounds resonating from OOIOO while as they were completely present in the moment. The sounds are like the cries emanating from a creature called OOIOO, proof that it is a living, breathing being. Experience the sounds of OOIOO that can only be heard in the here and now.
OOIOO has always created a musical language all its own. Under the leadership of Yoshimi, also a founding member of Boredoms, the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. Four years of work went into making Gamel, their bold new album inspired by the Javanese style of gamelan and the first new music from Yoshimi in over five years. Gamelan is an ancient form that has inspired a great many composers and musicians over the past century, from Erik Satie and Claude Debussy to Mouse on Mars and Sun City Girls. The introduction of this traditional form transformed the group into a super tribe, side-stepping the road between the past and the future. Their focus is not to replicate these ancient styles, but to incorporate them into their consistently inventive, constantly shifting musical frameworks. They take their love of indigenous music into an entirely new dimension by freely weaving organic and electric tones into a vivid tapestry, employing their keen sense of color and texture.
While previous OOIOO albums have been largely studio creations, Gamel is the most accurate portrayal of the band’s overwhelming, forceful live presence they have released yet. Yoshimi leads her minimalistic rhythm ensemble by making quick, impulsive shifts in tone and attack, the group acting as one mind under her expert instruction. While the gamelan elements will be brand new to many listeners, the band offsets the bizarre with familiar, at times even nostalgic and childlike, melodies. Gamel is euphoric, bursting at the seams with an exhilarating frenzy that is universal yet uniquely their own. OOIOO’s music is reflected in the ear of the beholder, with each listener taking away something different.
Yoshimi began her music career in 1986 playing drums in UFO or Die with vocalist Eye, and later joined him in the revolutionary noise-pop group Boredoms. Her explosive drum performances captivated audiences and even inspired Wayne Coyne to name a now-famous Flaming Lips album in her honor. While the band’s tours of the United States are infrequent, they are as The New York Times has stated, transcendent.
Imagine a feather floating from outer space and landing on earth. What's going on? Which bird did this feather come from? That's what OOIOO's (pronounced oh-oh-eye-oh-oh) music is like? so colorful and shiny that you can't even see what is happening.
OOIOO's Gold and Green reveals the group's hard-to-categorize and refreshing avant-garde rock music, which adeptly incorporates elements of punk and more traditional tribal music. Their rhythms are unique and the organic interplay with the vocals is compelling. The music is complex and challenging and playful and childlike. Previously released only in Japan, Gold and Green includes guest appearances including Seiichi Yamamoto (Boredoms), Yuka Honda (Cibo Matto), and Sean Lennon. The album packaging, designed by Yoshimi, is a beautiful miniature gatefold album jacked filled with drawings and photographs by Yoshimi and other artists.
OOIOO began as a fictitious band for a photo shoot for Switch magazine in 1996. An all-female four-piece ensemble started by Yoshimi, the Boredoms' drummer, the band quickly gained attention by being the opening act for Sonic Youth in 1997. On Gold and Green, Yoshimi shows off her musical imagination and virtuosity with her songwriting, as well as by playing the guitar, flute, and trumpet, singing, and adding a number of percussion elements. Yoshimi is joined in OOIOO by the striking Kayano on guitar and vocals, the petite and powerful Maki on bass, and the amazing Yoshico on drums.
OOIOO toured the United States in 2004 for the first time in over five years in support of their recent release, Kila Kila Kila. Their soldout tour performances were notable for their unique exuberance and captivating stage presence. Starting off with a vocals-only polyrhythmic song, the band struck a chord like no other. They will be recording a new album for release in the fall of 2006.
A split LP by two bands with truly singular musical identities: OOIOO, the Japanese experimental rock group led by YoshimiO of BOREDOMS, and Lightning Bolt, the noise‑rock duo from Rhode Island, USA.
It’s five years in a blender. It’s every troublesome misunderstanding of a half-decade relationship distorted and stretched into an absurdist black comedy mini-series on wax. It’s the sound of every fight we ever had, playing simultaneously. It’s several consecutive voice notes that you did not listen to, and instead read the transcription. It’s fifteen songs from iconoclastic rapper Mike Eagle and innovative producer Kenny Segal. It’s the world’s first half-whimsical break-up album. It’s DOOMED! It’s also LA. Maybe not first and foremost, but Los Angeles runs deep in this record’s present, and its lineage. The story of any big city is also one of transplants. DJ Premier in New York, Tupac in California. If you build it, they will come. Mike and Kenny both arrived in LA as young, aspiring artists who were drawn to the scene around groundbreaking rap crew Project Blowed. They have been friends— and occasional collaborators—for almost twenty years. Despite that, DOOMED! is the first time the two have put together a full body of work. But everything happens in its time, and fate worked to bring them together at the exact moment that would allow the duo to create something extraordinary. Mike, fresh off a string of multi-producer records and processing the end of a tumultuous relationship, was in need of creative catharsis. Meanwhile, Kenny had locked in on his next challenge after a recent string of critically acclaimed collaborations not only with rappers like billy woods, and K-the-I???, but also jazz trio Human Error Club and bluesy indie rocker Benjamin Booker. “In recent years, Kenny made it very clear that he wasn’t trying to keep having one or two beats on my projects; he wanted to build something,” Open Mike Eagle explains. “I was able to convince him to let me use a couple beats for Neighborhood Gods Unlimited with the caveat that we would focus on our thing next. Then my relationship fell apart right when we started working, and it was like, ‘Perfect, I have a lot to say about this.’” Here are some more particularly interesting insights from the man himself: “If DOOMED! is prestige TV, then think of “Out To Lunch” as the pilot where we meet a man who’s not all there because his head is still in yesterday, and the following as a brief synopsis. There’s a song that starts at an argument about the color of a rental car. There’s a song about trying to write a pair of lovers’ initials in wet concrete and the. stick breaking. There’s a song that’s a prayer about finding the strength not to look at my ex’s social media. There’s a song about a character from Adventure Time who’s a piece of shit that I identify with. ach vision is a crashed airplane halfway on the border of dream and nightmare, bitter and sweet, sadness and freedom. Every one of Kenny’s beats is a chunk of ore from a different comet. I used each one as a canvas to paint my impression of a dead world.
Or Sobre Blau's 'Making Friends' on Stroom."Andreu G. Serra and Kiran Leonard first met in Lisbon nine years ago, arriving in the city within weeks of each other by chance. Living together in a crumbling warehouse in Alto São João, they recorded a series of improvisations that became The Piri Piri Samplers (Memorials of Distinction, 2019): Serra’s abrasive, tape-warped guitar lines colliding with Leonard’s stark, pedal-free counterpoint. They played a single gallery show, left Lisbon that summer, and then spent almost a decade living in different countries.When Stroom reissued The Piri Piri Samplers in 2024, the label suggested the duo make a new record. At first, it seemed impossible: Leonard was in London, Ubaldo in southern Catalonia, and their attempts at long-distance recording quickly collapsed into nothing. But the near-failure sparked something. Leonard travelled to Catalonia to restart the process in person; soon after, Serra moved to South London, and the pair began meeting every week.The result is Making Friends: a richer, more expansive album built over six months. Where The Piri Piri Samplers was assembled from raw improvisations, Making Friends transforms fragments into fully realised songs, weaving together nylon and steel-string guitars, piano, drums, bells, samplers and more. For the first time, Serra and Leonard sing together, each in his own language - Catalan and English - sometimes translating one another in real time.Musically, Making Friends still carries the jagged dissonance and free-blues spirit of the duo’s earlier work, while opening outward toward everything from emo and blown-out noise to fractured chamber pop. There are only three guests on the album, and they are worth mentioning: Rachel Leonard and Antonia Serra (the musicians' mothers) on the seventh tune, and the American poet Pete Simonelli (of Enablers) appears on Top of Duboce / Tyne Bridge Crossing, one of the album’s two sprawling centerpieces.At its heart, Making Friends is an album about friendship: about distance, reunion, family, and the stubborn need to make music together. It begins with uncertainty and disconnection, but ends somewhere stronger - with, as put on the closing track, “molta il.lusió per lo que pugue vindre” or “much excitement for what may come.”"
Formed in Antwerp in 1966, Orange rose from the city’s fertile art and music scene to become one of Belgium’s most compelling underground rock bands. After several lineup changes, the group solidified its identity in 1969, making a national television debut and honing a sound rooted in psychedelia and melodic rock. Later that year, with Hugo Van Camp joining Marc Van Geystelen (lead guitar), Norbert De Lange (guitar/vocals) and Swa De Houwer (bass), the band recorded their debut single, ‘The Sun’ b/w ‘Wait Until Sunrise’, at Decca Studios in Brussels. Dark and brooding, ‘The Sun’ remains a striking artefact of Belgium’s late-’60s underground and has since earned lasting cult status.
With this new 7’’, Orchestre Tout Puissant Marcel Duchamp continues to blur musical boundaries through bold collaborations. On one side, Revenant du Nord — co-written with Frànçois and the Atlas Mountains — weaves stories of migration, Moroccan memories, and layered polyrhythms into a swirling orchestral movement. On the flip side, Siilent, composed with Jo Burke, dives into darker dub territory, inspired by a late-night Geneva dancefloor and shaped by the ensemble’s signature instrumental finesse. Two tracks from different roots, united by the same drive for organic power and musical vertigo.
First imagined in the early 2000s around a cyclical organ pattern, Revenant du Nord is a long-awaited composition, rooted in travels to Morocco and encounters with young migrants at the edge of Europe. Frànçois revisits those memories through poetic lyrics, carried by the rich instrumental textures of OTPMD and the voices of Basque singers. The result is a hypnotic, polyrhythmic journey, with the original nine-fingered organ riff transformed into a four-handed marimba sequence — a powerful piece about movement, borders, and asymmetries of freedom.
Originally sketched as a minimalist outro, Siilent returns in a new, grimy dub-infused version, built around a hypnotic 6/4 rhythm. Composed after a night at Geneva’s Dubquake, the track channels that raw, physical energy through the unique lens of OTPMD’s orchestral setup. With Jo Burke’s striking folk vocals and the subtle, swaying touch of drummer Lucien Chatin, Siilent walks the line between dub trance and haunted chamber music — tense, elegant, and deeply immersive.
Orchestre Tout Puissant Marcel Duchamp’s latest album, “Ventre Unique”, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra’s ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music.
Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet’s simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars.
Ventre Unique is the group’s sixth album and follows their acclaimed 2021 release, “We’re Ok But We’re Lost Anyway”. While their previous work captured the disarray of the world during the pandemic, “Ventre Unique” reflects on shared human experiences, inviting listeners to find common ground through music.
Kind Regards is the second duo release from guitarist Oren Ambarchi and drummer Eric Thielemans, out via AD 93 on the 21st February 2025.
The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness (Matière Mémorie, 2023).
Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music’s gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive. Recorded in sparkling fidelity and carefully mixed by Ambarchi’s longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. Guitar and drums weave together into a symbiotic whole that nevertheless affords us ample opportunity to marvel at the highly personal approaches these two musicians have developed to their chosen instruments through decades of diverse collaboration and prolific performance.
The set begins with Thielemans’ hypnotic tom patterns, around which Ambarchi’s wavering, shimmering guitar tones—achieved with the help of the rotating speaker of a Leslie cabinet—flurry and swirl. Thielemans’ drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi’s guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans’ percussion.
When Thielemans adopts a more traditional jazz approach to the kit in some of the set’s second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack De Johnette or Billy Hart (one of Thielemans’ mentors). And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser’s classic It’s a Wonderful Life, with a more active use of the guitar’s fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.
Kind Regards shows us the kind of magic that can happen when two masters who have dedicated decades to reimagining their instruments simply begin to play, following the music wherever it goes.
Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now. From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section. After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions. Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.
Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now. From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section. After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions. Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.
