Traczyk’s sonic concrete mixer
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.
Read moreTraczyk 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.
Read moreFrom 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.
Read more– When I was in school I studied contemporary art and I was always interested in the ideas of land artists such as Robert Smithson or Nancy Holt from 1960s, who were really concerned with the ideas of site, non-site and what does it mean to take an object or element from a site and relocate it elsewhere. I became interested in those sorts of ideas applied to music and acoustics – says artist and composer, Lea Bertucci
Read morePleasant, 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.
Read moreThe Spanish indie scene came together with lightning speed to organise the first DIY festival online. As a result, we got the best showcase of music from Spain in years.
Read more“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.
Read moreThroughout 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.
Read moreAlabaster DePlume takes the suitcase labelled “jazz” on a trip around the globe. He opens it up in various corners of the world – for forty minutes, we delve into melodies as if taken straight from the Ethiopiques stage, set sail for the Far East and towards Japanese Min’yo folk, only to return to Europe along the path of Celtic music.
Read moreOn “Nigunim” Bastarda lead us through their world with profound reverence, far away from the profane, maintaining the narrative potential of the nigunim. Yet the most important thing is that they are able to convey the full emotional load of this timeless music in their own inimitable style.
Read moreExotic, surreal and full of contrasts: “Sea to Sea” sounds like a tale from the Atlantis, demonstrating the uniqueness of Sign Libra’s musical language.
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