Sono tornati con rancore. Il nuovo album, “Evil Moods”, chiarisce le cose fin dal titolo. Il suono è più cupo e secco di prima, riuscendo a mettere in atto movimenti soul e quasi funky su storie di disperazione e farla franca come se il Pop Group fosse cresciuto su un acquitrino mentre faceva il bagno in una palude: sono i Movie Star Junkies!
Icelandic post-punk meets death-synth trio Kælan Mikla returns for the group’s third album, Nótt Eftir Nótt. Topping a year that catapulted the band onto stages shared with the likes of The Cure and Placebo, Nótt Eftir Nótt is Kælan Mikla at their most confident, and their most deadly. It’s been five years since Margrét Rósa Dóru-Harrysdóttir, Laufey Soffia, and Sólveig Matthildur Kristjánsdóttir formed the band in Reykjavik, but after several tours and high-profiles stages, as well as two critically-acclaimed albums, Kælan Mikla has brought their A-game in a big way.
Starting off quietly with a creepy, gothed-out ethereal intro, Nótt Eftir Nótt erupts with post-punk brilliance and synthlines that harken back to the bad old days of the Batcave, big hair, and Egyptian-inspired eye-liner. Tracks like the melancholy “Hvernig kemst ég upp?” are wonderfully delightful, while the band goes for the big goth dance number on “Skuggadans,” succeeding with glorious ease. Near the end of Nótt Eftir Nótt, when you’ve already ingested a healthy dose of Diamanda Galas meets The Birthday Party, the title track, produced by popular Icelandic electronic wizard Bang Gang, is basically perfect.
Hot on the heels of shows at Roadburn, Meltdown, and The Cure’s 40th Anniversary, as well as a Fall tour supporting King Dude, Kælan Mikla are set to take their place as one of darkest aural poets on the world stage.
John Wesley Myers – as he really is called – first introduced himself as a member of The Immortal Lee County Killers from Auburn, Alabama. Then he became one half of the Black Diamond Heavies cult band, formed in Nashville in 2004. The self-named “vagrants of the world” attacked blues music from a punk perspective, and may be unmatched in performing uncorrupted, scaled and shattered music in this genre.
In that case, James Leg himself would decide to record a solo album in the form of “Solitary Pleasure”, which has since had two sequelers, and the above-mentioned “Below the belt” and the last full length ” Blood on the Keys “released in autumn 2016. All released by the quality-conscious Burbank-based label Alive Naturalsound, which also launched several other cross-border names such as The Black Keys, Lee Bains III and The Glory Fires, Scott Morgan and Andre Williams.
James Leg performs without exception as a duo, centered on the song and distant Fender Rhodes organ and his faithful companion Mat Gaz on drums. It is a high-grade rock’n’soul show, with the sweat lingering and the constant groove everywhere. The song is a chapter in itself. Imagine, if it’s possible, somewhere between Louis Armstrong and Tom Waits. James Leg makes music that hits you straight in the heart and stomach, where it matters, and it’s impossible to sit still. In addition, it’s a wide repertoire, James Leg can tear your heart out of your body if he just wants, as in the incredibly beautiful “I’ll take it” from the last album, and in the next second rock the ass of you with such funky ” Human lawn dart “or punky” Hugging the line “.
Alice Tambourine Lover presentano in anteprima i brani del nuovo, quarto album “Down Below”, in uscita questa primavera. Gia’ presenti in Cox anche nella precedente incarnazione a nome ALIX, sono ora un duo che suona folk blues desertico e psichedelico di grandissima qualita’.
E’ il nuovo progetto nato dalla collaborazione di Carlo Luciano Porrini (Fight Pausa, LEUTE) e Luca Bolognesi (Palazzi D’Oriente). La loro musica unisce in modo totalmente free-form elementi di musica elettronica, downtempo, ambient, jazz, math rock, emo.
La performance è completata dall’intervento di altri due membri: Adalberto Valsecchi (sassofonista) e Andrea Dissimile (batterista – LEUTE, Generic Animal).
Lamin Fofana is an electronic producer and artist. His instrumental electronic music contrasts the reality of our world with what’s beyond and explores questions of movement, migration, alienation, and belonging.
He is from Sierra Leone, lived in Guinea, United States, and currently located in Berlin.
Chen aka Chima Hiro is a music fan first and foremost. That manifests in the way that she dances (we’re legit sorry for you if you’ve never seen her dance) and in how she was already looking for special tracks in the most unexpected corners, well before she would even dream of being a DJ.
The tracks she picks for her NYCE & SLO show on Rádio Quântica embrace a spectrum that is as expansive as it is surprising, just like her untainted taste. Moody but colourful, innovative but archetypal – it’s music that touches on new age and jazz as well as distorted beats over acid lines or uplifting, melodic house. Her path in DJing runs paralel to her radio beginnings and has taken Chima Hiro to dominate booths – and consequently, dancefloors – of some of Lisbon underground’s most exciting parties.
Da almeno due decadi Selina è un nome stabile nella scena musicale di Toronto, ha pubblicato 5 album solisti e collaborato assiduamente con un lungo cast di musicisti canadesi, sia in studio che sul palco.
Selina è una fine sperimentatrice e ama mischiare generi tra loro molto diversi come elettronica e folk. Al momento risiede in Francia dove sta continuando il suo “viaggio musicale” sempre alla ricerca di nuove, originali, influenze.
Tom Holliston è noto per la lunga militanza come chitarrista dei leggendari (e purtroppo sciolti) NOMEANSNO, una delle più eclettiche band canadesi capace di mescolare punk/hardcore con elementi di free jazz e progressive (e non solo) e diventata negli anni una delle influenze principali per generi come math rock e post-hardcore.
Saltuariamente inoltre TOM HOLLISTON veste la maschera da hockey e diventa uno dei terribili “fratelli” che compongono gli HANSON BROTHERS, “side-project” nato a metà degli anni 80 e divenuto vero e proprio oggetto di culto di tutti i Ramones-fanatics.
A partire dai primi anni 2000 calca i palchi di tutto il mondo presentando i suoi pezzi acustici mescolando il suo caratteristico songwriting con una coinvolgente, ironica e tagliente presenza sul palco.