CategoryReviews

The colour pink on the covers of Siksa, Blóm and Mentos Gulgendo’s new albums is confusing. It indicates a new feminist perspective, but not just that.
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Post-punk improvisations, jazz metal, doom metal flirting with folk or algorithmic electronics – welcome to a showcase of the youngest Russian scene in all its eclectic
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Sarmacja is marching between national ecstasy, exhaustion and anger, weekend joys and the mundane greyness of everyday life in the provinces. It is a rhythmical landscape of
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Music as a form of catharsis, recycling of ideas or means to bring aid – three albums recorded during the quarantine prove that it served as
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Marion Cousin and Kaumwald move Iberian songs from the collective regional memory into a broader context, as if wanting to engage listeners in a peculiar game.
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Traczyk strips the bass from its lyricism; instead of looking for melodies and pleasant sounds, he opts for the heaviness. Here he is drawling out sounds and trying to tame the mighty-sounding wooden giant.

From Durban’s GQOM, through an acid-fuelled soundtrack to winter, to Polish retromania from the 90s. – I’ve compiled a selection of music that is danceable, fun, and many more things to boot.

Pleasant, casual meetings usually bring the best results. But sometimes things can go a bit revolutionary too. Here are the most interesting jazz and jazz-like albums of the last weeks and the start of a new series: The Magnificent 7.

“Rastilho” is a personal comment on the contemporary world, the simplest possible gesture: reaching for an instrument, playing, and looking towards the samba tradition to make a contemporary statement about Brazil under Bolsonaro’s rule.

Throughout forty minutes, Horse Lords combines microtonal harmonies, polyrhythms, minimalism, mathematical structures, dance potential and an algorithmic approach that sometimes reminds me of the Orange Milk roster.