Hypnotic Eye

Experimental trio Giraffe crystalize time on ‘Desert Haze’, their new LP on Marionette. Giraffe is the musical project of Sascha Demand (guitar), Juergen Hall (keys), and Charly Schoeppner (percussion). With only a couple of releases to date on the wonderful Meakusma imprint, little is known about Giraffe. After letting go of other artistic projects, the trio now focuses solely on Giraffe by continuously searching for and finding their own unique language.

A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.

Rosedale is first of all a French duo consisting of Amandyn Roses and Charlie Fabert. Both have the music genes in their blood. Amandyn Roses initially delved into playing the accordion and piano. Then she decided to sing, was a year at the Music Academy International in Nancy. This institute is associated with the prestigious Berklee College Of Music. In 2013, the two musicians met and in 2016 they finally went as Rosedale at the start.

Nicholas Gunn, also known as Nick Gunn, is a classically trained musician and music producer. He is a Top-Ten Billboard charting musician known for his instrumental works under Nicholas Gunn and his EDM (Electronic Dance Music) works.

There’s something about the Swedish city of Malmo that doesn’t add up.

The album, “Songs Inspired By The Film The Beatles And India” features a diverse cast of Indian artists (Vishal Dadlani, Kiss Nuka, Benny Dayal, Dhruv Ghanekar, Karsh Kale, Nikhil D’Souza, Anoushka Shankar, Farhan Ahktar, Soulmate and many others) all bringing their own musical styles, as well as contemporary and classical Indian influences and techniques to the record.

Emily Loizeau’s previous album, Icare, was produced by John Parish at Rockfield Studios during lockdown. Released in 2021 the album then toured for nearly two years.

Six years since the last Fever Ray album and two decades since "Heartbeats," the earworm song that made The Knife, the Swedish sibling duo of Karin and Olof Dreijer, a dance-floor hit, Karin Dreijer is back with a provocative treasure trove of carefully considered electro-pop.

On Disquiet, The Necks stretch their immersive, shape-shifting sound across three discs and more than three hours of labyrinthine, patient intensity. This is their twentieth studio recording and it marks the 39th year of the band’s existence. Meticulously recorded and sculpted, the four extended pieces on Disquiet see Tony Buck, Chris Abrahams, and Lloyd Swanton pushing at the outer edges of their collective intuition, building and unraveling hypnotic structures with microscopic focus. Present is the usual arsenal of piano, double bass, and drums, and all the in-between of sounds undefined and sources obscured. The music of The Necks has always carried a profound sense of shared responsibility –– between the players, of course, in their utter commitment to the improvisational –– but also between the work and its audience. With music so open, there are profound opportunities to choose: what to focus on, whether to focus at all, etc. Disquiet takes this further: there is no particular listening order prescribed. There is no “Disc 1, Disc 2, Disc 3.” The music itself seems to stretch time, and this presentation challenges ideas of sequencing. The Necks, one may argue, are a mode of discovery as much as they are a band.