[engl] After eight years exchanging with fellow musicians in various forms : quintet (Filiamotsa Soufflant Rhodes : Véronique Mougin, keyboards; Antoine Arlot, saxophones ; Essawabi Youssef, trombone), trio (Philippe Orivel : violin and keyboards), the french rock duo Drums/Violin Filiamotsa recorded his next album : "Like it is", brings together all these musicians. This new album, which keeps their rock, noise and psychedelic spirit, is a collection of English songs. This time, the legendary singer of dutch band The Ex (Touch & Go Records) : GW Sok deploys its melody. The guitarist Olivier Mellano also brings his personal touch giving this disc a singular and sometimes orchestral dimension.

[engl] Elves, Red Sprites, Blue Jets is the third full length album from Inutile. Emerging from the vibrant rock scene in Teramo, Italy they continue to change, without completely abandoning their peculiar character. In their new songs, the tracks are less dilated. Improvisation is channelled in a form closer to the classic song, but in practice every track is different. There are still passages of epic psychedelia that could and SHOULD go on forever but the real news is the addiction of the sinewy vocals, half-sung, half-grumbled. This CD version has six bonus songs that show the various ways that the band is testing new mutations. Elves, Red Sprites, Blue Jets is idiosyncratic, primal and euphoric and yet somehow manages to stay catchy.

[engl] Lumen lab is a project created by Diego Martínez in 2000. When he was fifteen, he surprised the electronic scene in Mexico (reserved then only to genres associated with dance music or late rave culture) with drum machines, secondhand synths and any device with which he could use to generate rhythmic noise and distortion. After two years of live performances linked to a post-industrial sound, Diego began to merge other influences such as glitch, the late nineties IDM and sounds associated to hip-hop and punk music. In 2004 the « enfant terrible of mexican electronic music » released his first album « Comiendo algodón en la pista de baile » (Eating cotton candy on the dance floor), published by the record label Abolipop in the boom of leftist electronic music in Mexico. It became one of the most important titles to strengthen a new scene more closely linked with experimentation. « They Are Killing Us » has several collaborations, including his brother Israel Martinez, a recognized sound and interdisciplinary artist. Both co-direct Abolipop and the digital publishing platform Suplex. For vocals, Chanocollaborates. He was the voice of important bands of the crust and grindcore scene of Mexico in the nineties and the new millennium as Hydrophobia and Emphysema, besides collaborating with anarcho-punk bands like Fallas del Sistema. « They Are Killing Us » is a convulsive and powerful work, the result of fifteen years of experimentation as Lumen laband a social context that demands nothing less than a great energy and anger to get ahead, to preserve life, because they are killing us.

[engl] "Bad Reputation" is the first full-length LP from Other Houses, the solo moniker of multi-instrumentalist Morgan Enos, known otherwise as the vocalist for doom/shoegaze band Hollow Sunshine (Robotic Empire/Iron Pier). From its first moments, Bad Reputation is a noticeably different entity than Enos' work with Hollow Sunshine and displays a remarkable departure from even preceding Other Houses EPs No Splendor (2015) and Way Out West (2015). Finding its home on internationally recognized experimental record label Aagoo Records (best known for releases from AU, Colin Stetson, Sal Mineo, KK Null, Father Murphy, Blevin Blectum) Other Houses' Bad Reputation is winsome, homespun, and crackling with pop energy. While the song cycle is deeply personal, the record simultaneously fixes its eye heavenward into an intergalactic realm, where mysterious forces found in Eastern texts collide and intermingle with interstellar bodies. As many of the giants of 1960s and ‘70s pop and rock seemed to commercially flounder in the 1980s, they took a stab at relevancy by embracing electronic arrangements and the aesthetics of planets and starships. Today, Bad Reputation zips by out of nowhere to live in, embrace, and know that neglected, futuristic zone. It’s here that Enos' creative impulses are presented in all honesty - simple and strong arrangements, lovingly rooted in power pop and psychedelia, weaving their threads through a set of diverse songs to create an incisive, yet fully livable universe of its own. The songs, indebted to Enos’ power-pop heroes Big Star, The Byrds and Guided by Voices, keep a sense of heart, concision and personality. Yet, the most magical part of Bad Reputation’s unkempt pop mosaic is that it presents Enos (who plays every instrument featured) as a full-fledged artist, painting the night sky with strange, dazzling melodies, emboldened and willing to try anything.

[engl] Fabulous Dates is the second full-length from Other Houses, aka Morgan Enos of Hollow Sunshine and Hheaven. Affectionately referred to by its creator as "my punk album", Dates is a hurled cherry bomb of glorious songwriting. Both extremes of Other Houses' mid-fi sound are taken deeper and further, with baroque harpsichords and strings a la "Sgt. Pepper's" and "Smile" careening headlong into jagged noise. It's a beautiful mess, one which betrays the young, prolific Enos as a student of rock and roll and a songwriting force to be reckoned with.

[engl] Aagoo Records in New Jersey is thrilled to be releasing the sophomore album from ZULUS. The four members – Aleksan- der Prechtl, Daniel Martens, Jeremy Scottand Julian Bennett-Holmes – all come from a background in music dominated by a punk and hardcore aesthetic as former members of bands including Battleship, Necking, Teenage Nitewar, Rice, Prsms, Aa, Fiasco, the Homosexuals, and Wand. ZULUS was started as an attempt at a pop band by guys who have since proven clearly unable to write pop songs. The record, simply titled Zulus II, is loaded with nine brash and corrupted anthems all rolled up tight into a wiry ball of filth and whatever other debris it picked up along the way. Tracks are loaded with heavy doses of textural energy, repetition and a neon spattering of noise, punk and ambient elements, giving new meaning to the descriptor “pop” while simultaneously capitalizing on their very own gruesome sound. You’re going to have to hear it to believe; just prepare yourself for a thoroughly reckless attack.