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Improvisation is not dead yet

Bloor seem to be consistent to the extreme – playing with verve and freshness, avoiding routine. “Drolleries” show that the point of departure and listening to each other are key, together with a form that is not excessively long, so as not to become tiring. This is a vibrating and resonating album, which combines the anger of punk with a courageous look at jazz, repetitions, raw sound and improvisation.

The Polish School of Electronics

Two new records by Bartosz Kruczyński: “Selected Media 2014-2018” is a tour-de-force of his composing skills and blending various aesthetics into a coherent and toned down functional music format, which can function autonomously. “Pulses” – made with Sasha Zakrevska – in turn, shows his skills in playing live, improvising and building spacious aesthetics.

Maurice Louca: I want to approach the feeling of being in a band

„I became bored with the guitar, so I tried to make it sound like something else. Finally, I got something else – I bought a synthesizer, drum machine and after a few years… I came back to the guitar. If I play it now, I like it to have a clean sound, I don’t use a lot of effects because I actually missed the guitar itself, its sound. On Elephantine I play the guitar again. In a way I think that was kind of being inspired by an instrument again.”

The other side of drums

In spite of its near mathematical precision, Sequence is light and spontaneous. The simplicity and self-limitation are captivating, as is the palette of sounds offered by the drums, which Rattle are able to spontaneously and beautifully reveal to us anew.

Gqom in pop

Sho Madjozi sounds best in parts that draw on contemporary influences from her native Limpopo and gqom, like in the aforementioned “Hutu” or “Kona”, with its fresh blend of shangaan electro. These tracks are distinctive and sassy, offering a lighter, wilder and definitely more pop-oriented take at gqom.