Search:fuzz

Here is one of the most sought after Turkish records.

Really a rare single from Turkey.

Turkish psych folk-rock sound with killer electric saz/fuzz heavy funk single from 1975.

Remastered sound, arranged by Zafer Dilek.

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records. This original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl (secret colour reveal), representing the colors of the character’s hair throughout the film.

"Worn-denim instrumental psych country." - Raven Sings The Blues

Recorded to ¼” tape, Shakedown In Slabtown is a sunscorched ramble through widescreen

guitar instrumentalism, down-home gospel, Kosmische repetition and swampy country choogle

with the hiss left in. Bobby is joined by Guy Whittaker (Sharron Kraus, Jim Ghedi, Big Eyes) on

drums and percussion, Mark Armstrong on electric bass and keys plus a primitive drum machine

groove last heard on Suicide's debut or JJ Cale’s early records.

Owing as much to The Durutti Column as Ry Cooder, the album takes in stripped back

traditionals, fuzzed out folk funk, Hired Hand-style acoustic vignettes and wide eyed rural rock.

In the grand power-trio tradition, the album closes with a live rave up; an 11min+ elongated

deconstruction of Warren Zevon’s Join Me in LA, equal parts Dr John’s Gris Gris, E2E4 and

CCR vamp.

Bobby is from Sheffield in the UK and the touring bass player for the cosmic-country veterans "Gospel Beach".

Leo Ceccanti should be a familiar name to all followers of the Claremont 56 label. Alongside sometime studio partner Gianluca Salvadori, he was responsible for two delightfully distinctive Almunia albums released on the label, 2011’s New Moon and 2013’s Pulsar. Both sets were filled with golden, sun-kissed sounds, psychedelic grooves and immersive, life-affirming soundscapes.

Now he’s decided to go it alone as Leo Almunia, delivering a debut album for Claremont 56 that’s every bit as alluring, wide-eyed and evocative as those he made with Salvadori. In keeping with his previous work, the album blends layered acoustic and electric guitars with toasty bass, dreamy synthesizers and grooves that variously touch on hypnotic house, chugging mid-tempo disco, sunset-ready Balearic beats and, on the glistening, life-affirming album highlight ‘Wishing Star’, loose-limbed jazz breaks.

What’s most significant about Ceccanti’s personal musical style is not the blend of stylistic influences he draws on – think psychedelic rock, progressive rock, jazz-rock, new age ambient and slow-motion disco – but rather the way he uses it to paint vivid aural images that genuinely linger long in the memory.

After opening with the duelling guitars and chunky dub disco grooves of ‘Sinking Fields’, Ceccanti sashays between magical moments of rush-inducing positivity, heart-tugging poignance and heady nostalgia.

Along the way, you’ll find numerous sonic highlights. On the intoxicating 21st century psychedelia of ‘Panerea’, jangling chords and eyes-closed psych-rock guitar solos ride a chugging, thickset electronic bassline, while ‘Il Cormorano’ is a metronomic, flash-fried workout rich in fuzz-tone guitar motifs, bluesy riffs and echoing instrumental touches.

He cannily joins the dots between Mid-West Americana and throbbing, psychedelic disco-chug on ‘Loveblind’, while ‘Minor Circle’ sits somewhere between Santana, the Pat Metheny Band and sunrise-ready Balearic blues. Arguably even better is the saucer-eyed brilliance of ‘Brillo De Luna’, where a dubbed-out electronic beat becomes enveloped in life-affirming acoustic guitar chords, exotic slide guitar motifs and string-bending solos. If John Lennon had ingested MDMA rather than LSD before writing ‘Across The Universe’, it would probably sound like this.

Then there’s the album’s crowning moment, closer ‘Can’t Hold a Lover’. A heart-aching, largely ambient instrumental that channels the loneliness and anguish felt by many of those separated from their nearest and dearest during the pandemic, it sees Ceccanti brilliantly wrap a variety of sun-bright guitar textures and solos around some of the loveliest synthesizer chords you’re every likely to hear. On an album packed with effervescent, mood-enhancing musical highs, it’s a rare moment of bittersweet bliss.

Batov's Middle Eastern Grooves series has a new, funky, double-sided 7" addition titled ‘Big Baglama’ by Satellites: a fun release that gives vintage Turkish beats a new spin.

‘Big Baglama’ is a beautiful instrumental piece that captures the sound of an acoustic diwan saz - known as a baglama - integrating it in a series of riffs connected by a funky groove. The baglama gives off a fresh and lively feeling, despite the vintage flavour provided via the spacey synth and rippling drums. This track channels the energy and style of old school fuzzy vibe of Arif Sag’s saz recording of the ’70s but makes it new and entertaining to the ear, pulling the listener in for a fun ride.

The B-side ‘Deli Deli’ opens with a groovy bass riff and ululating synth, followed by a nifty melodic lead on the baglama and then Yuli’s enchanting vocals. The song is a new interpretation of an old piece by beloved 70’s Turkish folk singer Sakir Öner. This new version differs from the original in the more bright and poppy feel, conveyed by the 6/8 rhythm, and the addition of a whole new section by the band.

Satellites are another exciting act from the celebrated Tel Aviv music scene, and here at Batov Records we love them! Formed earlier this year, the group comprises talented vocalist Yuli Shafriri on the synth; Itamar Klüger on the baglama & bouzouki; Ariel Harrosh on the bass and Azriel ‘Raz’ Man on the drums. The band plays anything from Anatolian rock to vintage psych and spacey grooves. Satellites describe their sound as retro-fresh psych à la Turk, a musical "laboratory" lost somewhere between the mysterious alleys of 70’s Istanbul and the scorching sun and crystal blue sea of Jaffa-Tel Aviv, 2020.

Repress on purple vinyl!

Batov's Middle Eastern Grooves series has a new, funky, double-sided 7" addition titled ‘Big Baglama’ by Satellites: a fun release that gives vintage Turkish beats a new spin.

‘Big Baglama’ is a beautiful instrumental piece that captures the sound of an acoustic diwan saz - known as a baglama - integrating it in a series of riffs connected by a funky groove. The baglama gives off a fresh and lively feeling, despite the vintage flavour provided via the spacey synth and rippling drums. This track channels the energy and style of old school fuzzy vibe of Arif Sag’s saz recording of the ’70s but makes it new and entertaining to the ear, pulling the listener in for a fun ride.

The B-side ‘Deli Deli’ opens with a groovy bass riff and ululating synth, followed by a nifty melodic lead on the baglama and then Yuli’s enchanting vocals. The song is a new interpretation of an old piece by beloved 70’s Turkish folk singer Sakir Öner. This new version differs from the original in the more bright and poppy feel, conveyed by the 6/8 rhythm, and the addition of a whole new section by the band.

Satellites are another exciting act from the celebrated Tel Aviv music scene, and here at Batov Records we love them! Formed earlier this year, the group comprises talented vocalist Yuli Shafriri on the synth; Itamar Klüger on the baglama & bouzouki; Ariel Harrosh on the bass and Azriel ‘Raz’ Man on the drums. The band plays anything from Anatolian rock to vintage psych and spacey grooves. Satellites describe their sound as retro-fresh psych à la Turk, a musical "laboratory" lost somewhere between the mysterious alleys of 70’s Istanbul and the scorching sun and crystal blue sea of Jaffa-Tel Aviv, 2020.

MONSTER MAGNET’s A Better Dystopia dominates with a psychotic selection of proto-metal and psych-rock obscurities! "Take a trip inside the mind of psychedelic rock legend Dave Wyndorf with MONSTER MAGNET’s A Better Dystopia – a delightfully psychotic selection of proto-metal and late-era psych songs that fit the band like a glove! With wonderfully obscure song choices and excellent sequencing, the mighty Magnet pay homage to some of their favorite songs of all time, crafting another exciting and unique listening experience alike what they’ve become famous for. While the album marks a new frontier for MONSTER MAGNET as their first covers record, this is not your typical set of standards released to pass time. Wyndorf is at the top of his game on A Better Dystopia – howling, crooning, speaking… whatever it takes to get the emotional message of these very special tunes across, delivering each lyric in his own inimitable style. Musicians Phil Caivano, Bob Pantela, Garrett Sweeney and Alec Morton own the sound on A Better Dystopia – vintage and old school, dense and heavy, with searing fuzz leads and pounding bass and drums all played in a deft style that's almost been lost in modern music..

BLK JKS are a seminal force in the South African underground.
After an extended hiatus the Johannesburg foursome, championed by The Mars
Volta and TV On The Radio (amongst many others), return with a groundbreaking
new album.
Monster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, postapocalyptic funk, renegade dub and kwaito.
Features Malian guitarist Vieux Farka Tour and Beastie Boys accomplice Money Mark
on the track “Maiga.”
”This South African art-rock band traffics in complexity, cross-hatching not only rhythms
and textures but also the signifiers of genre”- The New York Times
“A prequel to 2009’s amazing After Robots … What occurs when you listen to Abantu is
that it is an Old Testament support to After Robots – where that album prophesied Afropunk, this album suggests the roots to that moment, an engrossing journey of Afrobeat,
fuzzy yet hugely suggestive drone and psych textures, and a bristling sense of both pride
and critique that sings through.” The Wire
“A dark and brooding number that simmers and smoulders as it goes, fueled by a driving
rhythm section and mournful horns.” - Brooklyn Vegan about single “Human Hearts”
“BLK JKS, an awe-inspiring exemplar of modern Africa’s indigenous sound, make a victorious return after an extended hiatus … They create something unique on this album.”
***** Morning Star

Die Londoner Produzentin, DJ und Labelchefin Elkka (mit bürgerlichem Namen Emma Kirby) kündigt eine neue EP mit dem Titel „Euphoric Melodies“ an, die am 21. Mai 2021 erscheint und ihre erste Veröffentlichung auf dem Ninja Tune-Sublabel Technicolour ist. Der 5-Tracker ist eine warme und euphorische Erkundung dessen, was Emma selbst am meisten schätzt - die Fähigkeit und Freiheit, an sich selbst zu glauben. „Euphoric Melodies“ ist der Nachfolger von „I Miss Raving“, das letztes Jahr auf Local Action veröffentlicht wurde. Der Track ist Emmas Ode an den Club als solchen und seine Abwesenheit im Jahr 2020 - und wurde von FACT, DJ Mag, Earmilk und Resident Advisor gelobt, die den Track als „aufbrausend und reich an Gefühl“ beschrieben und dem Track attestierten: „das ist Pop-fokussierter House vom Feinsten.“.
Mit der Entscheidung, die volle künstlerische Kontrolle über ihre Musik zu übernehmen, vollzog Emma 2016 den Wandel von Singer/ Songwriterin zur Produzentin und Künstlerin. Im selben Jahr gründete sie auch femme culture, einem Plattenlabel und Kollektiv, das aus dem Wunsch heraus entstand, Frauen und nicht-binäre DJs in der Kunst zu fördern und zukunftsweisende Musik voranzutreiben, die für Inklusivität zwischen allen Geschlechtern, Hintergründen und Überzeugungen steht.

Limited edition to 500 copies vinyl + 16 pages comic.

Record Kicks presents the reissue of the rare and in-demand Calibro 35 EP Dalla Bovisa a Brooklyn on vinyl. The EP includes an original Calibro 35's comic and is limited to 500 copies, which makes it an instant collector's item.

Originally recorded in 2012 in Brooklyn during the sessions for their third studio album Any Resemblance, Dalla Bovisa a Brooklyn (literally 'from Milan's district Bovisa to Brooklyn') came out in that same year as a limited edition 10". The EP contained an original comic by Italian gurus Gianfranco Enrietto and Marco Philopat that tells, between reality and fiction, the experience of Calibro 35 in the Big Apple. Rapidly gone out of stock, the original copies are rare to find and change hands for big money amongst record collectors and Calibro fans. Following the re-release of the first 3 Calibro 35 studio albums, now also Dalla Bovisa A Brooklyn sees the light again on the superior 12" format that includes a restored colored version of the original 16 pages comic. From the opening "Broccolino funk" to the last track, the 6 minutes of the afro-funk winner "Bushwick, Nigeria", on the six tracks on the EP the band sounds as groovy as ever, serving another funk-filled journey, full of fuzz guitars, distorted organs and brooding bass lines.

Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionadosin every corner of the planet.

Heavy Psych trio from Portugal based in North London. Mainly influenced by 60's psychedelia and 70s Prog with hints of modern Stoner and Space Rock. They deploy their magic fog into the room to take the entire audience on a journey from the edge of a rugged desert to the outer edges of distant galaxies. The acid-doused amps of Madmess vent serpentine psych and bleed the deepest shades of violet from the electric heart of Rock & Roll. Madmess are Luis Moura (Drums), Vasco Vasconcelos (Bass) and Sam Paio (Guitar) Resident Records: "Heavy stoner riffage smashing against crashing drums is always a winner, in our book, & this one happens to be an especially yummy chunk of squealing fuzz" More Fuzz “ This Portuguese trio’s Psychedelic/Space rock conjures images in my mind of the power of a rocket launch, followed by the serenity of orbit before smashing back through the atmosphere and returning to Earth.”

First album by Selda Bagcan, originally released in 1976- A collection of well-known poems and folk-songs, recorded in cooperation with the most progressive Turkish musicians / arrangers of the 70s: Mogollar, Dadaslar, Zafer Dilek & Arif Sag.

Combining traditional instrumentation from Anatolia with Western psychedelic grooves: fuzz-wah guitars, electric saz, funk drums and above all, Selda's passionate vocals.

*Original artwork in gatefold sleeve.

*Insert with detailed liner notes by Kornelia Binicewicz (Ladies on Records).

*Newly remastered sound.

Toronto’s infamous psychedelic multimedia collective, Intersystems, make a surprise return with a new full-length LP, #IV. Coming via Waveshaper Media, #IV is Intersystems’ first new material since 1968! Intersystems’ pioneering avant/electronic music sounded positively alien in the 1960s, and more than 50 years later, this latest body of work sounds just as otherworldly.

When they arrived on the scene in the late 1960s, Intersystems stood out from their peers. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events and released a trilogy of defiantly disorienting records.

Where more conventional purveyors of sonic psychedelia were content with fuzztone guitar and orientalist tropes, Intersystems managed to approximate the full psychedelic experience in all its euphoric wonder and terror. Initially wrangling homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, Intersystems were also among the very first to deploy a Moog Synthesizer; their Moog modular system was the first to be imported into Canada. Intersystems’ three vinyl LP recordings, meanwhile, justifiably became coveted collector's items given their scarce quantity and singular unsettling vision.

The reissue of Intersystems’ full discography in 2015 prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era..." Mills-Cockell’s work in Syrinx has also been reissued to great acclaim in recent years.

Fifty-plus years after their 1968 album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton's storied Grant Avenue Studio. The resultant music remains remarkably congruent with the project's original vision while clearly emerging from the present moment. With original poet/lyricist Blake Parker now deceased, Hayden and Mills-Cockell made the counterintuitive (yet strangely apt) decision to render Parker's words electronically. As the computer-synthesized voice alternates between an eerily life-like delivery and slurred cybernetic faltering, it brings a new dystopian tint to the group's anxious surrealism. Taking cues from its predecessor, Free Psychedelic Poster Inside, a modular Moog Synthesizer system is the primary instrument, yet here it offers a dynamic blend of different sonorities: barbed wire basslines, Subotnickesque chirping, gestural plumes of colour and percussive filigree.

While the group cut their teeth in the 1960s, make no mistake these new Intersystems recordings aren't a “comeback" or an attempt to rehash the "good old days". What one hears instead is the sound of Mills-Cockell and Hayden re-energizing the project, bringing with them the myriad experience they’ve accumulated in the intervening 50 years. These aural concoctions—no less perplexing than their 1960s predecessors—build upon the Intersystems foundation but very decidedly reside in the present moment, reminding listeners of just how forward-looking this group was in the first place.

It’s one thing to take the drone rock of your debut album in an entirely new direction but quite another when the result is an ambitious 30 track three-part album.

But that’s what London collective Moderate Rebels have done on their biggest project to date, the opus ‘If You See Something That Doesn’t Look Right’. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.

‘If You See Something That Doesn’t Look Right’ will be released in three ten track parts in 2021, part one being released on Moshi Moshi on 30th April 2021.

Afrosound's mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called 'inspiraciones'), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were also sprinkled in to spice up the proceedings. The dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. "La danza de los mirlos" kicks off with most famous Afrosound hit of all, 'Caliventura', a genius blend of funk and cumbia. Aside from the cumbia amazónica title tune, there are several other covers including three popular songs by Nelson y Sus Estrellas, plus radically reimagined versions of various Colombian costeño classics published by Fuentes. Mario "Pachanga" provides a sad but still groove-oriented Christmas son montuno / cumbia hybrid while Fruko brings us the bomba-funk ditty 'El chorrillo' and the rocking cumbia andina gem 'Cabeza de chorlito' where Sepúlveda channels Enrique Delgado. Fruko collaborator Hernán "Hercovalle" Colorado Vallejo rounds things out with the melancholic psychedelic cumbia 'Esperando por ti', proving that every tropical party has to have its down side as well. The record was also released in the US, Ecuador, Perú, Panamá, Mexico and Venezuela, and probably had an influence of its own, at least in South America. The cover of this lovingly restored reissue features the artwork for the Peruvian edition, which was licensed and issued by Lima's El Virrey label in 1974. The original Fuentes artwork, with a far more outrageous "cheesecake" image, can be seen on the back cover.

Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia_but his biggest legacy is without a doubt him being the singer and bandleader of Ofege. Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band! Melvin Ukachi recorded four milestone albums with Ofege: 'Try and Love' (1973) 'The Last of The Origins' (1976), 'Higher Plane Breeze' (1977) and 'How Do You Feel' (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: 'Evolution-Bring Back The Ofege Beat' (1981) and 'I am Ok' (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike. On the album, we are presenting you today (Evolution-Bring Back The Ofege Beat) the listener is treated to the trademark Ofege sound (as the title of the record obviously suggests). Next to the rootsy and raw Ofege sound, we're shown a perfect glimpse of the late '70s afrobeat works combining soul, jazzy rhythms, William Onyeabor style synths & fluid boogie-danceability Expect some serious 'all-star' guest musicians as well_featured on the album are Chyke Madu (The Funkees) on drums, Berkley Jones (Ofege) on guitar_and many other local legends. To top things off the tracks were recorded and mixed at the legendary Abbey Road Studios in London_all slickly engineered by Rafiu Ayoade (The Apostles) and produced by the president of sound himself Odion Iruoje (known for his work with Manu Dibango, Fela Kuti_and many others). 'Evolution-Bring Back The Ofege Beat' was released on EMI Nigeria in 1981 and is a total Afro-psych-funk classic that begs for a special place in your record collection. It's tight, funky and Melvin's soulful vocals are to die for. This record is a monster! Tidal Waves Music now proudly presents the first-ever reissue (supervised by Melvin Ukachi himself) of this amazing Nigerian Afrobeat album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork made at Grafikad (who were responsible for designing landmark sleeves for renowned artists such as Fela Kuti).

A conceptual album featuring five long tracks with raw in–your–face sound and production, over–charged fuzz & wah wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock / metal / heavy psych aficionado, reissued for the first time on vinyl and remastered from the original tapes.

Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist & vocalist from Zarpa. Heavy carboard sleeve + OBI.

Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals & lead guitar, Eduardo Feijóo on bass & vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock (“Claw Rock”), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero.

Under Zeus Rock guidance, the band did their first recording: a conceptual album titled “Los 4 Jinetes del Apocalipsis” (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded “live in the studio” in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of Heavy Metal in Spain, they managed to release two more LP’s which established them as a very popular band, even opening for Barón Rojo, true Metal Stars in the early 80’s. They’re still in active.

“Pretty much heavier and more loaded with crazed lead guitar than any of the other big ones from Spain like Storm, Tapiman, Leño or anything else I can think of” – Rockadrome

“Their music combines the slightly bluesy mid-70s Spanish hard rock sound of bands like Storm, which channeled Sabbath and Deep Purple, with a just-this-side-of-NWOBHM early heavy metal sound”
-Shit-Fi

Cardinal & Nun returns to L.I.E.S. now with his debut lp, 8 songs of full on rotten stripped back, fuzzed out, synth punk mayhem. Straight to the head beautifully thrashing anthems, Cardinal & Nun goes in with catchy basslines, dissonant guitar chop ups, and vocals that creep from the shadows throughout the affair. Don't gas out though, there are some somber cuts on the b-side's "Whats Goin On Tonite?", "Pandemonium" and "Day After Day". A true gem in the French scene, now get in the pit and slamjack! Recommended.

Friedberg was born out of a vision to create a totally new sound for
London-based Anna Friedberg (writer, vocals, cowbell, guitar, and more cowbell) and backed by a stellar cast of musicians, Emily Linden (guitar, vocals), Cheryl Pinero (bass, vocals) and Laura Williams (drums), they are developing exactly that.
Music that is both immediately familiar but also like nothing you’ve ever heard before. Friedberg, when literally translated, means “peaceful mountain”, but this is far from the frenetic and feisty sound of Anna’s colossal new project and her debut EP ‘YEAH YEAH YEAH YEAH YEAH YEAH YEAH YEAH’.
The full EP’s duality of upbeat, dance-inducing songs and emotionally heavy lyrics on topics of fear, insecurity and the breakdown of a codependent relationship, feel like an all-night party that ends up with new friends on the roof in fuzzy conversation, content in life’s mysteries. Crystal Clear transparent vinyl, standard 12” card sleeve w/ gloss finish, printed inner sleeve.

With 'BREAKOUT', Echoes of Zoo push their adrenaline fueled jazz sounds to thrilling new levels. Rarely did one single word capture an entire musical atmosphere this accurately: the gates of the cages fell open and won't ever be shut again. 'BREAKOUT' celebrates breaking loose and is constantly

seeking for unexpected and exciting encounters - both culturally and musically. Infused with an eclectic range of western, oriental and African influences, Echoes of Zoo let their psychedelic and energetic jazz roam the streets in all freedom - much like an animal that has just stepped out of his cage and looks you straight in the eye. Meeting is direct, barriers are gone, the adrenaline and energy are rushing high. The band takes a deep dive into the musical melting pots which the world's biggest cities are today:

Balkan ornaments meet Brazilian rhythms

Gipsy scales meet fuzz guitars

Beninese grooves meet Turkish makam

Bass guitars meet Sufi rhythms

Rage riffs meet Kurdish trance

Indian raga meets western guitars

Romanian drums meet swing riffs

Tallava meets drum 'n bass

...

Echoes of Zoo are profoundly inspired by the endless variety of animals and musical genres. Join them on their trip through the city in all diversity, victory and freedom. BREAKOUT.

Echoes of Zoo is a band with a unique sound, under the high tension of Middle Eastern rock music with the striking complexity of West African percussion and a few Dub flavors, all in the service of psychedelic jazz played with a punk attitude. For this project, Nathan Daems (sax) is accompanied by Bart Vervaeck (electric guitar), Lieven Van Pee (electric bass) & Falk Schrauwen (drums), musicians you probably know from other projects they are part of such as Black Flower, De Beren Gieren, Sylvie Kreusch or Compro Oro.

After releasing a first self-produced EP - 'First Provocations' - in January 2019, the group was well received by both the audience and professionals in the sector. Supported and followed by some pioneering organisations and festivals, Echoes of Zoo has already been invited to Brussels Jazz Festival, BRDCST Festival (AB), Brosella Festival (carte blanche guesting Pantelis Stoikos), Leuven Jazz Festival, Amok Festival (KAAP), Recyclart, ...