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Two years after they met, six musicians coming from radically different universes released an EP under the name of We Insist!, an obvious reference to Freedom now suite, Max Roach’s manifest. Three LPs, hundreds of concerts and ten years later, We Insist! have created a style of their own. It is a testimony of their resilience and their independence. Live performances are their battlefield, where songs are created and perfected in front of the audience. Their influences are numerous: Shellac, Queens of the Stone Age, Primus, At-The-Drive-In, John Zorn or Tool. David Lynch comes to mind as well, mostly because all such references and influences are subtly intertwined and mixed with one another…

After being blown away by a few tunes – probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu.

Mark Kozelek is teaming up with violinist and singer Petra Haden for a new LP called Joey Always Smiled. Along with Haden, it features contributions from Sonic Youth’s Steve Shelley, character actor Kevin Corrigan, regular Kozelek collaborator Ben Boye, and more. And following six originals with very Kozelekian song titles, the record closes out with a folky, beautifully spare cover of Huey Lewis & The News’ immortal Back To The Future soundtrack hit “The Power Of Love".

Ever since the early days of the Beatles, Paul McCartney has known the value of a pseudonym, famously registering into hotels under the surname Ramone and pushing the Fab Four to act like another band for Sgt. Pepper. This carried through to his solo career, where he released a couple odd singles while flitting back and forth with Wings, but he never again embraced the freedom of disguise like he did with Sgt. Pepper until 2008, when he put out the Fireman's Electric Arguments. McCartney created the Fireman alias with Youth back in the mid-'90s when electronica was all the rage and Macca hesitated dipping his toe in the water on his own LPs. A decade after Rushes, he revived the Fireman moniker not to cut another electronic record but to put out what in effect was McCartney III: a weird clearinghouse of experiments, jokes, detours, and rough-hewn pop…