
After a long period of hibernation, I´m back here, so lets celebrate it in grand style!
Get it here!
May the Force be with you


Jaga Jazzist’s least jazz-rooted, most prog album to date, One-Armed Bandit is not associable with Tortoise and 2000s-era Stereolab merely for the assistance of John McEntire, who mixed it and is credited with analog synth processing. Echoing, at various points, both bands at their most rocking, Baroque, and searching, One-Armed Bandit dazzles early on. Throughout the 13 minutes that make up the title track and the following “Bananfleur Overalt,” the listener is pulled through a suspenseful succession of passages, like a score to a Mediterranean tropical cyclone, that work in tight-riffing bass clarinet, zipping vibraphone, buzzing guitar, sighing pedal steel, dancing harpsichord, and even some distant skronk-sax over galloping and tapping rhythms that switch time signatures with an oddly elegant twitchiness. Later portions of the album are larded with so many graceless, attention-deficit hazards that it’s unknown exactly what the band (or is that “groop”?) was attempting to accomplish — perhaps a challenge or, more specifically, instrumental paeans to Frank Zappa and Mars Volta with horn charts.- via Allmusic
Peace. Out.

"Yukimi Nagano (1982) is a Swedish vocalist. Nagano was born and raised in Gothenburg, Sweden to a Japanese father and Swedish-American mother; she grew up listening to American folk because of her mother, but always had an affinity for R&B.
She is a vocalist of Gothenburg-based band Little Dragon, which she established with her close high-school friends Erik Bodin (drums), Fredrik Wallin (bass), and Håkan Wirenstrand (keyboards) Nagano has sung with Sweden’s electronica-jazz outfit Koop (band), and she and Erik Bodin play live with José González. Nagano is also featured on the Gorillaz album Plastic Beach on the songs Empire Ants and To Binge, both of which she co-wrote."
via WikiPedia.
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Hypnotic, magnetic album by Anouar Brahem which adds a new dimension to our knowledge of this exceptional Tunisian musician. "Le pas du chat noir" gives the clearest indication yet of the work of Brahem as composer and features a spacious "chamber music" that resonates with the freshness of improvisation. The instrumentation is unique: oud, piano, accordion. Brahem's writing for this combination is highly evocative, meticulously controlled and sparse. Half of the magic, as he notes, resides in the not-played, in the marvellous mingling of overtones, sounds that rise from the piano to blend with the warm tones of the oud and the breath of the accordion's bellows. - ECM Press Release