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„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut. The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself. Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002. The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear. The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music. PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace. (Text: Sonja Matuszczyk)
Originally released in 1980. "Hailing from the late seventies through 1980 originally, this has a state of the art Blackbeard mix from Dennis Bovell, production of the Well Pack Band from Winston Edwards and stands as a convincing album -- which goes some way to explain the advanced popularity entire dub sets went on to experience after punk's early love affair with sufferer's reggae. The vibes here are good, the titles great and while some of the themes may not be entirely dread, the playing is all high caliber and the one-drop dubs are very well crafted."
1974's "Natty Locks Dub" is well sought-after by reggae afficionados and viny collectors alike. Producer Winston Edwards left Jamaica to reside in the UK in 1974 and through his strong connections with reggae luminaries such as Joe Gibbs, Lee "Scratch" Perry and King Tubby began to travel back and forth between London and Kingston (JA) to bring back recordings to issue on his Fay Music label in the UK. In 1974 he issued his first dub album, the heavy hitting Natty Locks Dub featuring rhythms built at Lee Perry’s Black Ark and Joe Gibbs' new studio with overdubs done in the UK. These early dub tracks have a mystical atmosphere all of their own, cool, jazzy, melodic, with a great sound.
Chanting Dub with The Help of the Father a rare original rockers release featuring the rockers all stars
Joe Gibbs' 1979 album Majestic Dub stands as a unique and innovative take on the sound of Dub. The album opens with "Ten Commandments," an energetic track featuring prominent use of synthesizers, blending early techno influences with dub rhythms. This departure from the typical sound showcases Gibbs' ambition to modernize reggae without overusing electronic elements. The title track, "Majestic Dub," highlights the rhythmic prowess of the legendary Sly and Robbie, grounding the music with a strong reggae foundation while also experimenting with electronic drums, further pushing the sonic boundaries. As the album progresses, tracks like "Social Justice" and "Kings of Dub" continue to explore new textures. "Social Justice" introduces a synthesizer subtly woven into the rhythm, enhancing the track's depth and layering. In contrast, "Kings of Dub" feels lighter and more traditionally reggae, its smooth rhythms and precise production feel more grounded. These tracks exemplify Gibbs' ability to balance innovation with respect for reggae’s roots, allowing a variety of influences and styles to shine through without overwhelming the core dub essence. The album concludes with powerful tracks like "Edward the Eighth" and "Embargo," which return to more orthodox dub sounds while incorporating dynamic effects such as echo and delay. These final songs capture the essence of Majestic Dub, where traditional reggae rhythms meet modern production techniques. Gibbs' collaboration with top-tier musicians, including Sly Dunbar, Robbie Shakespeare, and Tommy McCook, adds further depth to an already rich soundscape. Altogether, Majestic Dub serves as a bold, forward-thinking album that not only honors the roots of dub but also pushes it into exciting new territory.
Released by French reissue specialists Only Roots and Deep Roots, the Augustus Pablo vinyl LP, titled King Tubbys Meets Rockers At 5 Cardiff Crescent Washington Garden Kingston, compiles a treasure trove of mostly previously unreleased material licensed from the vaults of Augustus Pablo’s Rockers International. Recorded at Lee “Scratch” Perry’s Black Ark studio, mixed at King Tubby’s, and anchored by the Rockers All Stars’ timeless riddims, the album delivers dub versions of gems like The Immortals’ Why Keep A Good Man Down and A House Is Not A Home, Pablo’s own New Lots Express, Roman Stewart & Barrington Spence’s No Peace In The City, Ricky Grant’s Far Far Away, and Hugh Mundell’s defiant Run Revolution A Come. Of particular interest are two alternate cuts of Pablo’s Unfinished Melody, along with a rare partial vocal of Jacob Miller’s Stop Them Jah, voiced on the same classic riddim that underpins the iconic Who Say Jah No Dread. These tracks first appeared decades ago on a scarce 10-inch release and now makes a welcome return.
From hollowed-out corridors and whispering tunnels, through soundsystem pressure in darkened rooms illuminated by a single intermittent light, Long Gone's fifth release traces the contours of Miles J Paralysis' mind. Dub elements drift through the fog of post-punk disintegration, while echoing percussion and solemn vocals emerge and recede like distant signals. Heavy with bassweight and foreboding, yet never collapsing under its own density, the record occupies that rare space where dread, depth and breathing room coexist.
Maruyama follows Vapor Curve with grainy film, a hardware-only mini album created without the use of computer-based recording software. Built from synthesizers, samplers and delay units alone, it finds beauty in restraint, combining minimal harmonies with glowing ambient passages, shimmering arpeggios and the warm, grainy character of vintage samplers. Inspired by the faded texture of old film stock, grainy film expands on its predecessor with a deeper, more abstract and dub-inflected sound. Maruyama describes it as "music for a cigar" – understated electronic music that quietly transforms the atmosphere rather than demanding attention. Nostalgic melodies and lingering echoes capture a sense of impermanence, making this a meditative and deeply absorbing listen.
2025 repress; clear vinyl with white Hi-melt. "1998: Tortoise's third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip-on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time!"
Keith Hudson's Pick A Dub is a classic album by many standards; released in1974, the session features performances from reggae legends Augustus Pablo, Big Youth, and Carlton and Aston Barrett. The 1994 re-issue on the Blood & Fire label introduced a new generation to its 'austere sonic qualities' and genre defining techniques. Pick A Dub showcases the enduring strength and pivotal importance of the rhythm to the development of reggae and dub music. Keith Hudson's complete mastery of the genre and the unqualified praise that followed its release was fully justified.
Holy Tongue are a trio composed of Valentina Magaletti, Susumu Mukai, and Al Wootton. Accomplished musicians in their own right, they create expansive rhythmic music that moves freely through dub, trance, post-punk, free improvisation and cinematic psychedelia. Such a dynamic energy and force is mapped across a trilogy of critically acclaimed EPs, their debut album Deliverance and Spiritual Warfare and their collaborative album with dub-pioneer Shackleton. The trio recorded a series of improvisations in the Swiss Alps and London. Built on the foundation of vintage drum machines and instinctive interplay they created compositions where no stylistic borders apply. The record melts and the musicians’ instruments synergise, with a rawness added with featured vocals from collaborator and experimental vocalist Dali de Saint Paul on two tracks. The record is out via AD 93 on the 9th October. Dub techniques meet ritual percussion, hypnotic pulse and vast Popol Vuh-esque landscapes. Drawing equally from popular music, experimental traditions and spontaneous interaction, the trio treats playing, recording, editing and transformation as part of the same creative act. Sounds emerge, dissolve and reappear in new forms, creating a music that is both deeply physical and endlessly open. With no fixed boundaries and no allegiance to genre, their work embraces movement, texture and collective energy. The result is immersive, transportive music that shifts between meditation and propulsion, intimacy and scale, always evolving in the moment.
In 2009, the label Art Yard sent a probe into the outer regions of contemporary electronic music, releasing Berliner Ring's "Orbital" album, a dub techno hymnal for Berlin’s orbital ring road. Drawing together the disparate elements of invented instruments, modified keyboards, customized rhythm and string machines, it was built around moods and themes drawn from the Berlin landscape. One member of the Ring, Alexander Christou, also a part of the Berlin electro rock group Elecdrones, recording for Katzensonne. The band were “not interested in the crafting of chunks of music ready to be consumed”. Christou has since been recording under the moniker Al Chem, crossing analogue and digital realms, synthesizing a kind of philosopher’s stone. As Al Chem, he released on Tummy Touch Records, and now follows with a collection of foggy electronic dub meditations recorded between 2000 and 2005 in a full album. In the battle to harness the elements, ancient mists permeated Chem’s music. A murky, mercurial humidity saturates the project. A distinctly north European descendant of dub, a kind of Seventh Seal that Bergman could have made, if provided enough hydroponic infusions. No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem's version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools.
It began somewhere between sleep and memory. After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs. What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely. ‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own.
Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Buying Options CD (Compact Disc) Available Now SPS26126 CD | Release date: 8th October 2026 £14.99 LP (Black Vinyl) Available Now SPS26126 | Release date: 8th October 2026 £25.49 LP (Colour Vinyl) Available Now SPS26126 CV | Release date: 8th October 2026 £30.49 Blue vinyl with hand written insert. Mystica Tribe and Scopeotaku, having formed an international dub alliance, release "Mystica Tribe Meet Scopeotaku" via 13 / Silentes. "Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."
Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Buying Options CD (Compact Disc) Available Now SPS26126 CD | Release date: 8th October 2026 £14.99 LP (Black Vinyl) Available Now SPS26126 | Release date: 8th October 2026 £25.49 LP (Colour Vinyl) Available Now SPS26126 CV | Release date: 8th October 2026 £30.49 Blue vinyl with hand written insert. Mystica Tribe and Scopeotaku, having formed an international dub alliance, release "Mystica Tribe Meet Scopeotaku" via 13 / Silentes. "Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."
An inspired coming together of musical minds. To celebrate the 20th anniversary of In A Space Outta Sound, George Evelyn aka DJ E.A.S.E has handed over the tapes to dub maestro Adrian Sherwood to go on a heady version excursion with eight tracks from the original record, in the spirit of the reggae and sound system roots that informed the original album. The result is a fresh take on a much-loved classic, in the lineage of albums such as Massive Attack’s No Protection and Spoon’s Lucifer On The Moon. Features bold new re-works of iconic tracks such as “You Wish” (appearing here as “You Bliss”) and “Flip Ya Lid” (mutated into “Flippin Eck”). As well as his trademark mixing desk wizardry, Sherwood has also brought in some of the core On-U Sound players to add additional instrumentation and turn this collaboration into something which is much more than the sum of its parts.
Space Afrika, the Manchester/Berlin-based duo of Joshua Tarelle Reid and Joshua Inyang, make raw, intensely detailed, visceral music with shades of ambient, trip-hop, techno, and modern classical, drawing spacious urban dubscapes from the contours of their city. 'Quiet Storm', the duo's highly anticipated follow-up to their 2021 LP on Dais Records, expands on its predecessor’s sound and scale in every direction as a sprawling, collaborative vision shaped with profound patience and intention. The leap, both technical and emotional, outlines the duo’s development — two polymath producers, composers, performers, and visual artists who’ve met expectations with mastery, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and the inner demons that persist. Contributors include Axelle Fanyo, Alto Aria, Deuén, Klein, RXKNephew, Tony Njoku, Kiala Ogawa, and Kelly Moran. "We challenged ourselves and our own notions of identity, around class and diaspora, and how that is represented across musical genres. We wanted to show the characteristics of our project through the people we chose to work with," says Reid. "We've stayed true to ourselves. It's music from the heart. It's music that has a particular rawness to it, but we've articulated that in a more modern classic structure, there’s a much more critical pronunciation of techniques," says Inyang. "It's a collaborative record because there is always strength and love in collaboration. But with that, we were able to focus more strongly on our personal identity." Five years feels immense following the release of 'Honest Labour', which was named Resident Advisor’s album of 2021, among other accolades from the likes of Bandcamp, Mixmag, and The Guardian, and cemented Space Afrika as a world-class live act. "These things take time," says Inyang, explaining that with the increased visibility came a certain weight. "It’s taken us down a winding road with extreme positives and also negatives, a kind of responsibility that we've held as artists from the Northwest, with our work expanding globally." Naturally, 'Quiet Storm' responds to the moment with deep consideration. He continues, "There’s no compromise in how we’ve made this album. The idea started as a celebration of Black artistry. Our collaborations have been very intentional, as we discovered the pillars of the story– our journey, which is mirrored in the film, where two young boys have taken a risk by following a belief in their talents." If 'Honest Labour' defined Space Afrika’s industrial-noir frameworks, 'Quiet Storm' takes the contrast up several levels with striking textures and sophisticated arrangements. The album is every bit a multidisciplinary effort, with the duo welcoming contributions from cellists, violinists, guitarists, drummers, and more, often writing and arranging lines to realize the vision in its totality. "We always think about the presentation of the music, and as we're writing, we're thinking about the stages that it's going to be on," says Inyang. Reid adds, "It's been a big nod to have these international collaborations, but there’s a British eccentricity coming through this record. We’re connecting the threads between these disciplines and genres, whether rap or classical. We took time away to revisit and rethink how these worlds have inspired us. We saw it as a cathartic practice, to unshackle oneself and step into the unknown, and there is no limit to the ways you can articulate a message and the vessels that they come through." Speaking to the multidisciplinary nature of the project is the involvement of celebrated artist Glenn Ligon, whose work deals with Black identity and queerness. A central inspiration at the onset of recording, Ligon offered his work 'Figure #30' (2009) for the LP's cover artwork, and following the completion of recording, he agreed to provide the project’s name – an unprecedented gesture from the pioneering artist. When provided with the final audio, Ligon immediately thought of "Quiet Storm," the 1970s radio format known for smooth, late-night programming with themes of life and love. 'Quiet Storm'’s sequence brings the listener through various scenes, interludes, and arcs, marked by a sense that its movement is fluid and its characters are fleeting. Into-the-mirror monologues grapple with the existential and the immediate: survival, autonomy, purpose. The album opens with the explosive, string-backed "Vanity" featuring 2025 Grammy-winning opera singer Axelle Fanyo. At first fixated on the crevices of a quiet room, "Vanity" unfurls under Fanyo’s expressive soprano, traversing a wide emotional spectrum from sublime contemplation to poignant, heart-piercing pain. "Vanity" was the first song from the sessions released to the public, as the song is the central piece to the album's film accompaniment, 'Opera Omnia', directed by Valentin Noujaim. Throughout the record, words spoken and sung are placed sparingly to powerful effect. Vanessa Bedoret's bright vocals on "Crying never had a voice ~" break through the swell of thunderstorms. Tender affirmations from Danish artist Alto Aria lift up "From The Heart of Knowing", as saxophone and cello interplay with Kelly Moran on piano. Rochester, NY rapper RXKNephew declares his deep state reality on the woozy "Ballad For A 'G'" as strings, breath and static are exhaled, with co-production by South London’s Klein. The voice of "Validation" delves into the notion of owning who they are, as disorienting strums and city sounds surround, in conversation with plucks from Greco-Canadian harpist Any. "MLN" gets to the beauty and catharsis at the core of Quiet Storm. It’s a true band effort, a collective slow march featuring British-Nigerian artist Tony Njoku, with guitar and lead bass by Gabriel Evans, London's PIKE on drums, and Copenhagen's GB (Gustav B) on keys and strings. "Someone come and save me from the devil / I’m left outside," sighs Njoku in his processed falsetto as the snare drum snaps. On "Pretty Gospel," the Paris-based Japanese-Congolese artist Kiala Ogawa sings, "In my arms," guiding the listener into a somnambulant trance. The lullabic warmth is a respite from the weather, and world outside– "Another day to dream." The final movement gives 'Quiet Storm' its culminating release. "If This Is Hell" is assembled in a single take as a stream-of-consciousness from NYC’s Kaiuna Odogba aka Deuén, whose relatable array of spiraling brain activity is matched by jazzy, frenetic percussion. The pressure valve opens, as the phased drums and sharp conversational observational dispatched phrases cut abruptly after the line, "I wonder if that’s what heaven’s like?" We are left suspended in the comfort of the album's closer "Regards." Rainfall meets organ, drone, strings, and keys with gun reloads juxtaposed over tranquil hums. Heavy yet hopeful, Joshua Tarelle Reid and Joshua Inyang remind you of their journey so far. An appropriately cryptic and transportive outro for their open-ended opus, 'Quiet Storm' is a landmark level-up, self-produced, self-funded, and manifested out of sheer drive and conviction. Through bent time and low-lit haze, undoubtedly, Space Afrika has arrived.
The Weather Channel is the new instrumental album from Bad Brains bassist Darryl Jenifer. It follows his 2010 solo debut, In Search of Black Judas. The record features a venerable lineup of heavy-hitters from the jazz world, including the likes of John Medeski, Ben Perowsky, Jack DeJohnette, and Karl Berger, among others. The tracklist includes nine new compositions, as well as new interpretations of two Bad Brains classics.