It’s time for our weekly selection of the finest new releases hitting digital stores. Check out electronica by Caribou, dancehall by Agent Lexie x Symbiz, alternative with A Winged Victory For The Sullen and punk by Abwärts. Furthermore we’ve got soul by Witch and dark metal by Witch Mountain.
“‘Our Love’ is the name of Caribou’s fifth album and it is also the name of its second single. It’s clear he’s got a lot to say on the topic, so let him tell you all about our love: at the strangest times, it can leave voices lingering in your head before they slowly dissolve. It has its own rhythmic logic; sometimes it gets out of line, only to hit the groove again that much harder. It’s a shared train ride together amongst strangers at 3 a.m. It’s also a shared, intimate dance amongst strangers in a club at 2 a.m. You worry it might suddenly come to end, even while it feels like it could stretch out to infinity.” Ian Cohen/Pitchfork
Kreuzberg to Kingston, Dancehall to Dubtrapwhatever. With Agent Lexie and Symbiz, two acts with a single mission come together and tear down walls to tile the best dance floors on the planet with them.
Adam Wiltzie and Dustin O’Halloran return with their second studio album inspired by contemporary dance and new instrumentation After releasing a first glimpse in the form of the ‘Atomos VII’ EP earlier this year, A Winged Victory For The Sullen finally reveal their second full-length album entitled ‘Atomos’, which besides familiar piano, string and drone sounds also sees the duo introduce flurries of electronics, harp and modular synthesisers.
Founded in late 1979, Abwärts are one of the most important German New Wave / Postpunk bands. Their songs have been covered by such diverse acts such as DIE TOTEN HOSEN and DJ WESTBAM. Their 2014 album “Krautrock” features Rod Gonzales of DIE ÄRZTE on guitar. Rod has been a full band member of ABWÄRTS since 2004. “Krautrock” contains ten new songs, plus theLeonard Cohen cover “The Future” and new versions of the two band classics “Beirut Holiday Inn” and “Computerstaat”.
Egokind & Ozean’s album “Transition” combines modern sounding club tracks, interludes which are based on improvisation and composition and mesmerizing downbeat trax.
“The recording of Movin’ On was revolutionary for the Zambian band WITCH. The band went down south from Zambia to participate in the independence celebrations of Zimbabwe in 1980. We were meant to be curtain raisers for Bob Marley & the Wailers but they didn’t make it to Harare. We had delayed our journey for security reasons. Freedom fighters were still at large and still out in the bush and on roads. When we finally arrived the next day we performed in Barbourfiels stadium in Bulawayo. It was renown to be a ‘whites only’ stadium. We were the first black african band to ever step foot, let alone play there to a multi-racial audience for the first time in the history Southern Rhodesia becoming Zimbabwe.
After the celebrations the band camped in Harare for 9 months and toured extensively around Zimbabwe. The band rented two houses in some affluent areas town and embarked on project to record Movin’ On. Zambian bands lost fans attending live gigs in preference disco houses that had sprang up all over the country. We had to match the competition. We rehearsed extensively and crafted songs to feature on album Movin’ On. The whole band got involved in arranging and creating parts for all the songs. I remember helping out with the lyrics and melody lines for parts of title track Movin’ On. All the music was arranged and I spend first eight hours recording rhythm tracks playing piano parts with the drummer, Peter Lungu. It wasn’t digital in those days so you had to play every single note and if you made a mistake you had to start from scratch again, avhighly professional approach. Every note was arranged and performed by real musicians no gimmicks of loops or samples. It was a pure production by some of the finest musicians Zambia could produce. The biggest challenge for me was playing synthesizers for the first time. All disco music was hinged on keyboards playing a prominent part. I had to play string parts and orchestrate with brass parts, electric piano, acoustic piano, synth bass lines….you name it. I played it with band members nagging me to death to perform miracles….anyway it paid off. It was stressful and it was very hard work!!!
When the album was aired on Radio Zambia one Friday evening, the Zambian fans went crazy and could not believe the transformation and quality of the recordings. There was commotion in the town centre the next morning as queues formed at record stores hoping to buy this album which had not been released.
After the album we were able to perform music at the same standard as the disco houses. So we started getting contracts to work with disco clubs and performed one hour slots of ‘live’ music and we were paid a premium.
The rest is history…..”
by Patrick Mwondela
The new album is their most epic and musically challenging album to date, darker and more brooding than any of its predecessors. With a cleaner and warmer sounding production (courtesy of legendary producer Billy Anderson, album tracked and mixed in Type Foundry studios Portland) yet still maintaining that massive heavy bluesy and melodic tone the band are known for. Lead singer Uta Plotkin delivers her best vocal performance yet.