Indie / Alternative
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"My career has been a lesson in patience," says Annahstasia, having cultivated her musical language between blazes of intimacy and independence across different lives, locations, and iterations, loves lost and gained, expectations evaded and recreated. The rising troubadour's proximity to love — for and from others, in society at large, and deeply within herself — guides the spirit of her soulful, poetic folk songcraft. Love is the elemental constant, alongside her distinctly resonant voice, shading the singer-songwriter's music since her earliest self-taught recordings, back when a 17-year-old Annahstasia Enuke was discovered and propelled into the pressures of an industry that nearly stifled her greatest strengths. Artistic resilience, gratitude, and dedication to process have yielded Tether, Annahstasia's full-length debut on art-forward indie label drink sum wtr, a collection of beaming torch songs, orchestral hymns, and astral anthems that feel lived-in, drawn from the human experience and the spectrum of love.
Annahstasia assembled the pieces of Tether slowly and with deep intention; she's carried these songs with her on the road, sang them for friends and strangers, and evolved them over time alongside her personal revelations. "The song is written, and then I have to live with it and see if I really believe what I'm saying," she explains. She brought material to sessions at the storied Valentine Studios in Los Angeles, joined by producers Jason Lader (ANOHNI and the Johnsons, Frank Ocean, Lana Del Rey), Andrew Lappin (Cassandra Jenkins, L'Rain, Luna Li), Aaron Liao (Liv.e, Moses Sumney, Raveena) and a range of accomplished musicians, including featured guests aja monet and Obongjayar. The recording became instinctual, done only in live takes to capture the feeling of the room, the community of the music. The sequencing was just as essential; she arrived at a flow with shifting energies and poignant arcs. The instrumentation swells, at times understated and others supremely lush, and through each arrangement, Annahstasia's voice rings true, open-hearted, and free. "I've come into the power of my voice as a medium," she says. "As a tool of expression, I am able to shape the emotional space around me."
Lyrically, Annahstasia embraces the nuance of poetry, inviting listeners to engage in words laced with meaning, whether ruminations on romance or social constructs. She sees the opener "Be Kind" more as a poem than a song, "a reflection upon the beauty of the mundane and the grandeur of everyday life…a reminder to myself and others to be kind to each other." The track's minimalist atmosphere picks up where 2024's Surface Tension EP left off, with her vocals left bare and up-front, exploring the capacity of her gift with newfound latitude as strums, strings, and keys enter the frame.
The palette expands for "Villian," welcoming drums, brass, and horns into a sweeping nod to healing. "We are all made of both shadow and light. From some angle, we have all been the villain of the story," she adds, suggesting that often, the only way to move on is through understanding that "we are all trying our best, negotiating survival." At its triumphant peak, above gospel-like shouts, she delivers the reprise with a smile: "Take it / Take it back / This dull knife of memory / I still hear your voice inside my head / Says that I'm the villain of the story."
Album centerpiece "Slow" emerges from a chance connection with London-based Nigerian musician Steven Umoh, aka Obongjayar. After exchanging DMs, Obongjayar came to one of her shows, and the two artists talked for hours afterward; "he was like a lost brother," she says. Later, they wrote and demoed the track in the living room of her Airbnb in London, where they huddled around a single ribbon microphone. "I'm just playing the guitar, and our eyes are locked; it was very sensual and intense." Emboldened by one another, their voices orbit and coalesce, trading verses on the signals the universe sends us ("I heard it on the wind / To go slow"), harmonizing the last stanzas ("What's the worst that can happen / If we just let it happen"). Without proper album plans at the time, the song sat for a while; then, in another cosmic chance, Obongjayar happened to be in town during the Tether sessions. Annahstasia reflects, "It was a beautiful experience to have us all in the room. The artistry, the moment, a real acceptance of African art where these two Nigerian musicians are coming together and making something very tender and pretty outside genre expectations."
Later, Annahstasia finds a kindred spirit in aja monet, the NY-based surrealist blues poet and her new labelmate, who lends stunning prose and voice to "All is. Will Be. As it Was." Given only the prompt of "open air," monet wrote the lines on the ride to the studio. Together with Annahstasia on guitar and Ashley Fulton on piano, they captured the piece in its purest form as if bottling a breeze.
Annahstasia described the EP prelude to this culminating set as a "romantic war," and the artist truly thrives amidst and after drama. She taps into a punk sensibility for "Silk and Velvet" — "I'd say it's punk in the sense that it is really dry, really stark and selectively dissonant." A clashing of cello and piano mirror pointed lyrics about "living with the hypocrisy of having revolutionary ideologies but consumerist tendencies." The tension comes full circle on "Believer," a song she's been trying to get right for years, now finally recorded in the right place with the right people. Nearly every instrument on Tether returns in full force; towering percussion, jagged guitar lines, and howling singers encircle Annahstasia at the mic as she enters a fantasy of rock stardom. "I love how in making a record, you get to make a film and pick which direction to take it. Now I have this version that I blast in my headphones, play air guitar, and pretend I'm performing it for 100,000 people." The sheer power of Tether is the result of patience, and it's not hard to picture such a dream realized in good time.
claire rousay's 'sentiment' gets the remix treatment from Maral, more eaze, Patrick Shiroishi, M Sage, Andrew Weathers, AMULETS and Gretchen Korsmo.
Texas-based mainstay Andrew Weathers is first up, his rework glues all the vocals on the entire 'sentiment' album into a robotic gurgle - it's the most off-track version of the set and immediately stands out. Maral's take on 'ily2' is more restrained, adding a beat and neatly psychedelic back half, while sound artist Gretchen Korsmo turns 'asking for it' into a whisper of the original as if she's turned it inside out, leaving rousay's vocals to harmonize with her tempered drones. AMULETS' rework of 'head' sounds more in-line with the 'sentiment' mood; the Portland-based A/V artist swells rousay's fizzing emo-folk into tape-fucked shoegaze, and it works very well.
Adrian Sherwood returns with the mutating rhythmic soundscapes of The Grand Designer, a four track EP and the latest instalment in On-U Sound's long-running and much-loved 'disco plate' series.
The title track and lead single is out today, and serves as a trailer for a forthcoming full-length album, with different instruments filtered through Sherwood's bank of effects over an irresistible groove, and typically deft percussive detail.
"Let's Come Together" flips the same rhythm into a mystical dub, with sadly departed friend and collaborator Lee "Scratch" Perry providing typically off-the-wall vocal interjections. It also serves as a reminder of the wealth of collaborative projects Sherwood has released in recent years, releasing critically acclaimed new albums not only with Perry, but also Horace Andy, Sonic Boom & Panda Bear, African Head Charge, Spoon, Creation Rebel, Pinch, and more.
"Russian Oscillator" perhaps cleaves closest to the Sherwood & Pinch records, experimental electronics weaving in and out of heavy sound system sonics and a ruffneck dancehall adjacent swing.
The EP closes with "Cold War Skank", a left hand turn off the highway into scorched desert blues, distorted slide guitar patterns over widescreen film score atmospherics.
Available as a strictly limited and collectable 10" vinyl, mastered and cut by Frank Merritt at The Carvery, housed in a classic On-U disco plate sleeve, with cover collage by Studio Tape-Echo.
For the first time on vinyl, Yo La Tengo’s understated, lonesome score to Kelly Reichardt’s classic “Old Joy.”
Recorded in a single afternoon at Yo La Tengo’s studio in Hoboken, Old Joy is a drifting, improvisatory journey, born out of years-long friendship between the band and the film’s director.
The six instrumental tracks, created in collaboration with legendary guitarist Smokey Hormel, carry that unmistakable Yo La Tengo sound, but delivered in service of another great work of art. The music, like so much of Reichardt’s film work, is low-key yet arresting, stripped down to the essentials, warm and unpretentious. The record includes two variations on the beloved “Leaving Home” theme, released for the first time on vinyl after years traveling in Yo La Tengo fan circles.
This music is a balm, remarkably full of emotion despite (or maybe because of) its restraint and minimalism. Originally released on They Shoot, We Score, a CD compiling several of the band’s soundtracks, Old Joy stands as a cohesive whole here, blooming and rewarding repeat listens. Sliding reverbed guitars, muted piano and percussion, the hum of an old amp - the blurry memory of an afternoon in the studio, or a short-lived road trip through the backwoods of Oregon.
Small-run, high-quality LP pressed at Smashed Plastic in Chicago, on black and transparent pink vinyl.</p><iframe style="border: 0; width: 350px; height: 340px;" src="https://bandcamp.com/EmbeddedPlayer/album=853350/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://mississippirecords.bandcamp.com/album/old-joy-official-soundtrack">Old Joy (Official Soundtrack) by Yo La Tengo</a></iframe>
A new age lightness of being guides NNF alum Baptiste Martin to gently optimistic ambient, H-pop and glitching electronica styled results on a debut for Stroom, inseparable from its back story, regaled by the label below:
""I was admitted to Son Llàtzer Hospital in Mallorca on October 1, 2024, following a psychotic shock”.
This could well have been the opening sentence of a confessional novel but it’s not. It’s the first line of an email, which landed in my mailbox seemingly out of nowhere. The words were written by Baptiste Martin, the composer behind Les Halles.
In his letter, sent as a pdf document, Baptiste offered his friends a concise but striking report on his whereabouts from the past months. In brief, Baptiste was lost, found, lost and found again, yet seemingly forever confined to the walls of his cerebral interior. The letter describes a loss of grip and self-control, like a baby water turtle trying to hoist his way out of the fish tank by scratching the glass walls, without any result.
Baptiste is a musician and not a writer. His opening line is thus followed by an album, not a novel. This is the album. Yet, ‘Original Spirit’ doesn’t tell the story of his psychotic shock as a linear nonfiction, it offers a vague resolution to all the mischief in life: the hope for the existence of an original spirit, untainted despite all that might happen during the course of a life.
The album provokes images of what I would perceive as indeed an original spirit of oneself: an abstract nothingness breezing through landscapes of colours, searching for places beyond the boundaries of what we call freedom in the material world. A stream of sound, nostalgic to a time that never existed, a mystical loophole that we know isn’t there yet still crave for. In short: the sound of an uncannily serene feeling beyond hope."
Andy Jenkins always assumed Nick Sanborn was going to get rid of his guitars, anyway.
In March 2021, Sanborn had mostly finished construction at Betty’s, his studio outpost with partner Amelia Meath in North Carolina’s cozy Piedmont woods. Both busy pieces of their respective but intertwined music scenes in Richmond and Durham, Jenkins and Sanborn had been fans of one another for years but had never formally collaborated. Jenkins had spent the last several years gathering songs for the follow-up to his 2018 solo debut, Sweet Bunch; the new ones were intricately rendered odes to the assorted assurances and anxieties that can come with finding some measure of contentment as you cross into yours 30s. He’d even played them all during two outdoor concerts in Richmond, folks scattered throughout his backyard to listen. Sanborn reckoned that was enough rehearsal. Don’t send demos, he suggested; simply drive the two hours down, and live and work in the studio for two weeks while spring drifted into the South.
As Jenkins rolled through his assembled tracks in Betty’s Studio B, Sanborn listened and allowed his imagination to run wild. Sanborn recalled a conversation with the songwriter Damien Jurado, where he said he’d once arrived at the studio of producer Richard Swift without dispatching anything in advance; that instinctive and improvisational strategy led to Maraqopa, a modern masterpiece. What could Jenkins and Sanborn conjure?
Sanborn flooded Jenkins with ideas—rhythmic shifts, keyboard flourishes, vocal effects—and looked for and listened to his responses. There was the double-time piano, a mistake dropped into “Too Late” they both loved. There was the Vocoder selection during “Emptiness Is,” a choice that allowed the pair to hang so much of the song on bass and drums alone. There was the sequence that bubbles beneath “Leaving Before,” a mirror of the lyrical nervous heart.
When Meath and Flock of Dimes’ Jenn Wasner were palling around the studio, Sanborn asked if they would mind singing on a few tracks. That’s Meath on “Blue Mind,” sweetly trailing Jenkins’ lines about being under love’s spell like she’s offering an incantation, and Wasner rising through the static dawn of “Lovesick.” “Andy wanted someone to make decisions he would never make,” remembers Sanborn. “It was this mining operation we got to do together.”
As the songs steadily cohered, though, Jenkins insisted it was finally time to drop his guitars. “I have never been,” he says now with a little laugh, “a particularly competent guitar player.” But Sanborn loved the idiosyncratic way his strums sat against his voice, so he stalled. He wasn’t much of a guitar player himself, so they’d need to wait for Jenkins’ longtime collaborator, an ace named Alan Parker, to come down from Richmond and replace those parts. When Parker did, he heard the same thing as Sanborn—yes, he was more technically proficient, but his overdubs didn’t have the same personality, the same narrative truth. Jenkins relented, so his guitars stayed, the anchor for most of these 11 tracks.
One notable exception: “Nobody Else,” the album’s brief but brilliant centerpiece, a testament to holding close to the people in your life, of not losing nobody else. It stems from a quiet moment Jenkins and Parker shared in an otherwise-empty studio. Parker (who, in the end, added leads and fills throughout the record) plays a rubber-bridge guitar, while Jenkins’ voice rises and falls like the waves of the maritime scene he limns, his curious voice making melodies from mere air.
It is the exception here, Jenkins stepping away from guitar to lean into an old friendship and render something exquisite in its ache.
Since Always came, in large part, from letting go—of self-perceptions, of expectations, of assumptions. Jenkins found space to trust himself as the guitarist for his own songs. Sanborn stepped into a new kind of production role, dreaming up ideas and filtering through them together. There was, in short, a very adult trust to it all, two fans working in tandem to make something. The process feels of a delightful piece with Since Always, a record where the loss and love, compromise and gain of adulthood come into full view.
Grayson Haver Currin
Ward, Colo.
January 2025
Jagjaguwar is proud to release the long lost Julie Doiron album 'Broken Girl', expanded to include her first two 7"s. It was originally released in 1996 by Doiron after her band--the psychedelic folk group Eric's Trip--had crumbled around her, under the temporary moniker "Broken Girl". The name did nothing to hide her feelings regarding the breakup of her band and the relationships that she shared with its members; neither did the songs on the record. The twelve songs from the original album come across like an epitaph for a departed lover. 'Broken Girl' was indeed a new beginning for Doiron, both as a solo artist as well as a record label executive. The first two Broken Girl 7"s (both included on this reissue), as well as the self-titled full-length were released on her own label Sappy Records, a label which went on to release her Juno Award-winning 'Julie Doiron & the Wooden Stars' full-length as well as releases by Moonsocket, Orange Glass, Snailhouse, and Elevator to Hell.
'Broken Girl' was a watershed for Doiron, showing her to be the sort of songwriter and performer that Eric's Trip only hinted at. Achingly beautiful and showcasing her vocal style and personality as a songwriter, the reviews immediately put her in the same class as Leonard Cohen in terms of importance as a Canadian solo artist. The album was self-recorded in the same home-y manner as the classic Eric's Trip albums which helped--along with albums by peers Sebadoh, East River Pipe and Smog--define the bedroom aesthetic of the early '90s. While some rock scribes would call it lo-fi, the fidelity of the recordings that Doiron and her Eric's Trip mates employed in the first half of the '90s was clearly the most appropriate medium. The close-mic'ing of everything from the vocals to the swirling guitars and peaking drums created a sense of real intimacy (while avoiding a lot of the awkward pitfalls that so many confessional songwriters run into) and suburban claustrophobia. It is very easy to see the four-piece as a Nick Drake-like entity who had been raised on the far East Coast of Canada in Moncton, New Brunswick on the SST catalog (Eric's Trip took their name from the Sonic Youth song from Daydream Nation) and whose nucleus was a four-fold of independently-minded co-dependents with no need for a producer or other intermediary to the recording process which might break the spell for even a moment.
Initially released in a scant edition of 1,000, 'Broken Girl' went immediately out of print and has become a highly sought-after collector's piece.
"Fellow Canadian songwriter Leonard Cohen once titled an album Songs From A Room. Montreal-based Julie Doiron apparently took up residence there and removed whatever furniture was left behind."--Rob O'Connor, Rolling Stone
"My career has been a lesson in patience," says Annahstasia, having cultivated her musical language between blazes of intimacy and independence across different lives, locations, and iterations, loves lost and gained, expectations evaded and recreated. The rising troubadour's proximity to love — for and from others, in society at large, and deeply within herself — guides the spirit of her soulful, poetic folk songcraft. Love is the elemental constant, alongside her distinctly resonant voice, shading the singer-songwriter's music since her earliest self-taught recordings, back when a 17-year-old Annahstasia Enuke was discovered and propelled into the pressures of an industry that nearly stifled her greatest strengths. Artistic resilience, gratitude, and dedication to process have yielded Tether, Annahstasia's full-length debut on art-forward indie label drink sum wtr, a collection of beaming torch songs, orchestral hymns, and astral anthems that feel lived-in, drawn from the human experience and the spectrum of love.
Annahstasia assembled the pieces of Tether slowly and with deep intention; she's carried these songs with her on the road, sang them for friends and strangers, and evolved them over time alongside her personal revelations. "The song is written, and then I have to live with it and see if I really believe what I'm saying," she explains. She brought material to sessions at the storied Valentine Studios in Los Angeles, joined by producers Jason Lader (ANOHNI and the Johnsons, Frank Ocean, Lana Del Rey), Andrew Lappin (Cassandra Jenkins, L'Rain, Luna Li), Aaron Liao (Liv.e, Moses Sumney, Raveena) and a range of accomplished musicians, including featured guests aja monet and Obongjayar. The recording became instinctual, done only in live takes to capture the feeling of the room, the community of the music. The sequencing was just as essential; she arrived at a flow with shifting energies and poignant arcs. The instrumentation swells, at times understated and others supremely lush, and through each arrangement, Annahstasia's voice rings true, open-hearted, and free. "I've come into the power of my voice as a medium," she says. "As a tool of expression, I am able to shape the emotional space around me."
Lyrically, Annahstasia embraces the nuance of poetry, inviting listeners to engage in words laced with meaning, whether ruminations on romance or social constructs. She sees the opener "Be Kind" more as a poem than a song, "a reflection upon the beauty of the mundane and the grandeur of everyday life…a reminder to myself and others to be kind to each other." The track's minimalist atmosphere picks up where 2024's Surface Tension EP left off, with her vocals left bare and up-front, exploring the capacity of her gift with newfound latitude as strums, strings, and keys enter the frame.
The palette expands for "Villian," welcoming drums, brass, and horns into a sweeping nod to healing. "We are all made of both shadow and light. From some angle, we have all been the villain of the story," she adds, suggesting that often, the only way to move on is through understanding that "we are all trying our best, negotiating survival." At its triumphant peak, above gospel-like shouts, she delivers the reprise with a smile: "Take it / Take it back / This dull knife of memory / I still hear your voice inside my head / Says that I'm the villain of the story."
Album centerpiece "Slow" emerges from a chance connection with London-based Nigerian musician Steven Umoh, aka Obongjayar. After exchanging DMs, Obongjayar came to one of her shows, and the two artists talked for hours afterward; "he was like a lost brother," she says. Later, they wrote and demoed the track in the living room of her Airbnb in London, where they huddled around a single ribbon microphone. "I'm just playing the guitar, and our eyes are locked; it was very sensual and intense." Emboldened by one another, their voices orbit and coalesce, trading verses on the signals the universe sends us ("I heard it on the wind / To go slow"), harmonizing the last stanzas ("What's the worst that can happen / If we just let it happen"). Without proper album plans at the time, the song sat for a while; then, in another cosmic chance, Obongjayar happened to be in town during the Tether sessions. Annahstasia reflects, "It was a beautiful experience to have us all in the room. The artistry, the moment, a real acceptance of African art where these two Nigerian musicians are coming together and making something very tender and pretty outside genre expectations."
Later, Annahstasia finds a kindred spirit in aja monet, the NY-based surrealist blues poet and her new labelmate, who lends stunning prose and voice to "All is. Will Be. As it Was." Given only the prompt of "open air," monet wrote the lines on the ride to the studio. Together with Annahstasia on guitar and Ashley Fulton on piano, they captured the piece in its purest form as if bottling a breeze.
Annahstasia described the EP prelude to this culminating set as a "romantic war," and the artist truly thrives amidst and after drama. She taps into a punk sensibility for "Silk and Velvet" — "I'd say it's punk in the sense that it is really dry, really stark and selectively dissonant." A clashing of cello and piano mirror pointed lyrics about "living with the hypocrisy of having revolutionary ideologies but consumerist tendencies." The tension comes full circle on "Believer," a song she's been trying to get right for years, now finally recorded in the right place with the right people. Nearly every instrument on Tether returns in full force; towering percussion, jagged guitar lines, and howling singers encircle Annahstasia at the mic as she enters a fantasy of rock stardom. "I love how in making a record, you get to make a film and pick which direction to take it. Now I have this version that I blast in my headphones, play air guitar, and pretend I'm performing it for 100,000 people." The sheer power of Tether is the result of patience, and it's not hard to picture such a dream realized in good time.
Moin follow their EOY-topping 'You Never End' with a pithy jazz-pilled appendix, bringing back poet Sophia Al-Maria and adding Ben Vince's circuitous horns to offset Valentina Magaletti's gummiest live rhythms. Next level biz, obvs - crucial listening whether you're into Slint, Tara Clerkin Trio, Mica Levi/Spresso, Bark Psychosis or Still House Plants.
Not exactly a continuation, 'Belly Up' is a fresh bite cooked from similar ingredients. Moin bent out the tabs last year on their third album, emulsifying the post-punk and hardcore oils that smeared their early plates with modish funk and disintegrated, industrial-strength noize. Joe Andrews, Tom Halstead and Valentina Magaletti cogitate over the same themes here, but train their senses on jazz, assembling brittle and mutable modernist shapes around impeccably springy live syncopations.
Raw, direct opener 'See' is a case in point; Qatari-American artist, writer and filmmaker Al-Maria's droll non sequiturs helped cement the aesthetic of 'You Never End' and make a welcome return, now inserted between Magaletti's sluggish marching band extemporisations and prolific collaborator Ben Vince's transcendent sax loops. Andrews and Halstead keep it restrained, tagging on deadened hardcore tangs and a nasal keyboard vamps that maps the London topography between 4Hero and Tirzah. Vince appears again on 'I'm Really Flagging (or I Trusted U)'; what sounds like a clip from the same ad-libbed workout surges next to flimsy synths and cheeky samples. It plays like a sequel, still rallying around Magaletti's exaggerated, tom-heavy patter, suggesting alternate routes to the finale.
The boxy, no-wave curdled funk that characterized 'You Never End' is reheated on 'X.U.Y.' and evaporated into a quiescent mantra, but Moin's most ambrosian moments appear when they reduce the heat. 'You Leave Me Breathless' sounds as if it's a loose, unplanned rehearsal, with AutoTuned crows melting over a long, limber patchwork of paradiddles from Magaletti. And the trio don't completely ignore the rave backroom, banging together grungy Akai-coruscated samples and 808 State synths on the greyscale 'I Don't Know Where To Look'. As always, they don't exactly boot us back to the '90s - Moin make us wonder what it might have sounded like if there was access to a different array of technology.
For fans of: Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s
Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head-snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted.
Across five albums and a decade, Ouzo Bazooka have gained acclaim for their pioneering blend of Middle Eastern sounds, psych, and surf rock. The band has achieved international recognition for their music and performances, from the UK all the way to Japan, including The Great Escape, Fuji Rock, and Sziget Festivals. At one point, they played over 150 shows annually, solidifying their reputation as a powerhouse live act. Their critically acclaimed EP, Songs From 1001 Nights, was hailed as "a soaring adventure in exotic reverb and swirling lysergic synth hooks”.
Core member and multi-instrumentalist Uri Brauner Kinrot—musician, composer, and producer—has been active in the international music scene for over two decades. He has played in acclaimed and diverse groups such as Balkan Beat Box, Firewater, Shotnez, and Boom Pam, who also collaborated with Anatolian rock legend Selda Bağcan, and recorded frequently with Kutiman. Kinrot’s ear for production and arrangement has led him to work with internationally recognised artists, including Israeli-Persian musician Liraz.
Launched as a solo project, Ouzo Bazooka quickly morphed into a full-fledged group. However, Kapaim (Hebrew for “palms”) sees Kinrot refining the Ouzo Bazooka sound back into a largely solo endeavour. With more space to experiment, the mostly instrumental album is beautifully arranged and given room to breathe. The bass grooves, wonky synth motifs, head-nodding percussion, and soaring guitar solos create a hypnotic and uplifting experience.
Opening the album, “Asia” begins with an almost pensive bassline that initiates a languid groove. As drums, guitars, and synths join, the melody feels both thoughtful and nostalgic yet hopeful. The consistent bassline conveys a sense of roots and continuity as the song evolves.
The title track, “Kapaim”, urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks.
An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James’ heavily sampled “Nautilus” on “Seed”, before Kinrot makes a rare vocal appearance, imagining himself as a seed at the centre of the universe.
Having played a key role in the global instrumental movement, Kinrot stands among peers such as JJ Whitefield, Shawn Lee and Kutiman. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No’s Oxperiment, will find much to love.
A testament to Kinrot’s incredible talent - not least his meticulous arranging, production skills, and ear for soul, funk, and psychedelic rock, as well as his ability to blend musical traditions across cultures and eras - Kapaim carries a deep emotional resonance. It is Ouzo Bazooka’s most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.
First wave Greek punk in the spotlight of Death Is Not The End's ongoing adventures with Philly’s World Gone Mad record shop and distro, sifting out 71 minutes of call ’n response vocals, white hot guitar scuzz and pelted kits.
All lifted from rare and hard to get a hold of records and tapes, the session vacillates punk’s guitar-drums-vocal combos with its synth jabbing offshoots, turning up expected levels of The Ramones worship and finer strains of revving death rock, speckled with more hot-wired synth spunk and canny twists of dubbed-out steppers and goth-y early Factory stylings.
CASSETTE ONLY. Another tape reissued in our ongoing programme with Philly's World Gone Mad. 39 late 70s/early 80s Finnish punk tracks in 80 minutes. Mostly rare material from limited singles.
#showbusiness all of my love and gratitude towards my big beautiful family. I wouldn’t be able to do none of this without my mama, everything is dedicated to her. Big thanks to my papa for always trying to motivate me to do better and for showing me growth is forever! N for my new lil brobro Zi! 1 more Libra in the world makes it a better place. Thank you to my sisters for always being the best sisters a brother can have. Encouraging me endless nights and day, trying to always re-familiarize me with the sparkle of life. Biggest love to my nieces for being such a source of joy in my life, and always making me the proudest uncle. Biggest love and thanks to my big brother Naavin aka the real backbone to everything we got goin on. Thank you for never giving up no matter how it looks. You’ve changed so many peoples lives with your care and admiration for music. As well as with your loyalty and love you show to us all on the daily, thank you bro. I can never take this for granted! Thank you to my big brother Abraham, for all the same things, and helping bring these whimsical ideas to real life! Real years we put into doing what we actually wanted to and look how its turning out;) Biggest love to all my family at GW for all the work and love you guys have invested ;);) biggest love to AK47 aka Anysia Kym the goat, my big sis! Every slap up sesh we end up making a new genre of heat, thank you for your friendship and love always!! Also for goin dumb on the what u bouta do beat!!!!! Real #Emoters !!super thanks 2 da family Thelonius London & Jacob Rochester, 2 producers I’ve been a big fan of for a long time!! Thank yall for believing in me! Biggest thanks to duendita, forreal an artist of the century! Such a miraculous voice, glad 2 have ran it up again twin! Love you always!! Biggest thanks 2 my brother L-boy, Laron, producer prodigy, have known about bro since I WAS in high-school, like high waters type shit. Bro you are literally the best, it’s all yours! Biggest thanks 2 my brudda 454 for that godsent verse on what u bouta do! Grateful to have met u n ran it up across the map witcha twin! Another #aotc. Big thanks 2 my bradda Shungu for the slaps! Real life legend, been listening since I was younger, real full circle. Thank U 2 my twin Raine always for trying to motivate me and make sure I do mo self loving. Biggest thanks 2 my bradda Harrison #sgb! Biggest love & thanks to all my rap camp bruddas, my nigga thebe, Niontay, Tony, Haile, besides da rap shit yall forreal teach me everyday how to improve as man and that shit means the world. I can’t wait to share it all with yall, love yall forever! Biggest thanks 2 salami rose Joe Louis, ever since I’ve found out about ur music, I’ve been addicted n it really helped a lot last year! Thank u for contributing 2 dis project ;)) Super big thanks 2 my brudda Venna, modern day jazz Legend! Came thru so clutch wit da last minute sax, which really gave the album some depth! Thank you always bro! Biggest love to my bruddas across seas, Marky Mark William Lewis & ma bwooy Jespfur! Appreciate u guys always and miss ya! REDLEE! Thank you for being another big brother to me when a young nigga fr needed guidance!!! Thank you for always pushing me musically as well! N also for introducing me to all the homies that are now basically my blood family in UK!! Big love 2 my big sis Faith for always lending an ear to the 5000 diff iterations of the project! N for being such a good friend 2 me! Biggest love n thanks 2 my Puerto Rican cousins Sha & Matt for all the talks and hardworking that went towards the art for the project. That shit truly means the world fam! Thank you 2 the homies Nicholas & Ryosuke for bringing these songs 2 the real world and allowing other people to live in them. Biggest love 2 my twin Misako 2 for saving my life last year! Big love 2 my whole Japan squad #ACAB Biggest love 2 my whole Aussie squad too! YALL inspired the fuck outta me! Biggest love to Tzadi for the amazing artwork, for my music to be attached to something that looks so grand and special like that means the world to me. Biggest love 2 my fam at Astor club for keeping ya boy above ground literally. Biggest thanks n love 2 ma bwoy Gabe for the amazing mix on dis jawn!!!!! Ik it look fun but it aint! Ik there’s way more ppl I should prolly shout out
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UK・ウェイクフィールド出身のアーティスト、Pretty Vによる初となるフル・アルバム『Destiny of Illusion』が、昨今大人気のBianca Scoutも作品を発表していた南ロンドンの〈life is beautiful records〉よりフィジカル限定でリリース！プロデューサーaloisiusとの完全共同制作による、ローファイな質感と実験的な構成が特徴的な作品であり、ジャンルを越境するサウンドと、自己表現への強い意志が感じられる一枚。デジタル配信無しとのこと！Dean BluntやMount Kimbieのファンにもレコメンドしたい、現代UKアンダーグラウンドの注目作。
