Suche:jag

Gi Gi returns to Quiet Time with a new album, Dreamliner. His last full-length for Quiet Time, Lumino Pleco, was built on familiar samples, melted into a skunky sludge. It evoked a heat-warped meditation cassette unearthed from a Goodwill located in a black hole. The Texas producer’s latest, Dreamliner, is comparably immediate and propulsive. Here, Gi Gi explores spacey, kosmische-laced trip-hop. At first, these eight tracks come across placid and twinkly — calling to mind glitter stars twinkling atop a navy canvas, or tropical sun beams cutting through crystal water. But a jaggedness becomes apparent when lended a focused ear. Beneath slow motion arpeggiations and lullaby melodies, dubby percussion and sound effects gnash and quiver.

Red Vinyl. Listening to Fashion Club's self-produced second album A Love You Cannot Shake feels like being caught in the crossfire of a profound beam of light. You can't help but feel both enlivened and exposed as its aberrant synth lines, artful strings and disfigured guitars swell into larger-than-life crescendos, which evoke a divine yet probing spotlight. Pascal Stevenson, the Los Angeles-based musician behind Fashion Club, likens the experience of hearing A Love You Cannot Shake to staring into the sun, and though the record wasn't written with religion in mind, its heavenly sonics and emotional sagacity also make it feel like a prophetic encounter. The album was shaped by Stevenson's gender transition and sobriety journey and parses her fluid emotions surrounding these events and other personal trials and tribulations. But as much as it's a dialogue between Stevenson's current and former selves, it's also an invitation for listeners to join her in the work of discarding bitterness and re-centering hope, especially when such efforts feel futile. Musically, A Love You Cannot Shake is an unshackling of expectations, as Stevenson's previous stint as bassist in the L.A. post-punk outfit Moaning and her first record as Fashion Club, 2022's Scrutiny, didn't necessarily reflect the full range of her taste, which includes ambient, pop, classical and dance music, or embody her sensitive tenderness and femininity. A Love You Cannot Shake also thrives on a fluid sonic palette. The album's magnetic immersiveness hinges on its strange dynamic shifts, jagged production and ambitious song structures with parts that don't repeat_choices influenced by her love of left-field electro-pop and her classical music background. While Stevenson handled most of the instrumentals on Scrutiny, this LP is much more collaborative, featuring an array of contributors who lent strings, piano, pedal steel and more. Plus, this album boasts country harmonies from Perfume Genius ("Forget"), high-pitched coos from Jay Som ("Ghost") and gauzy whispers from Julie Byrne ("Rotten Mind"). Stevenson's vocal evolution is also on display with this record, embracing a softer delivery that's more reflective of her personality and identity.

2024 Repress !!

John Beltran in proper downtown Detroit mood! Including a remix from the Knight Of The Jaguar man himself Rolando! BIG!

Pearson Sound returns to his Hessle Audio label with Which Way Is Up, a 4 track EP showcasing a range of textures and tempos with soundsystem pressure as the anchor. The 808-laced 'Hornet' kicks things off with a sound palette inspired as much by '80s Miami as '10s London. 'Twister' dials up the energy with a jagged lead and scattered breakbeats pulling in opposing directions, while the steppers pulse of 'Slingshot' evokes formative experiences at Subdub in Leeds. The EP is brought to a close with the blissed out title track 'Which Way Is Up', whose arpeggios dance around each other until they fizzle to breaking point. Support from Mala, Mary Anne Hobbs, Joy Orbison and more.

Twenty years ago, mclusky released their third album, The Difference Between Me and You Is That I"m Not On Fire via Too Pure. In the years since, their legend has only grown, proved by their recent sold-out tour dates. Alternative Press described them as "a smash up between the scabrous rock noise of the Jesus Lizard and the jagged rhythms and open spaces of Gang Of Four". Originally produced by the late, great Steve Albini, this reissue has been remastered by his close friend and Shellac bandmate, Bob Weston and is pressed on 180gram black vinyl.

"Dunya", der Titel von Mustafas meisterhaft ausgearbeitetem und atemberaubend zärtlichem Album, bedeutet aus dem Arabischen übersetzt so viel wie "die Welt mit all ihren Fehlern". Ein hochtrabendes Thema für einen jungen Songwriter, aber wie bei jedem Thema, das im Mittelpunkt der Arbeit des sudanesisch-kanadischen Künstlers steht - von religiöser Hingabe bis zu Kindheitstraumata, von Bandengewalt bis zu romantischer Intimität - nähert er sich durch eine persönliche Sichtweise. Er mischt Genres und Stimmungen, verwebt romanhafte Details in einprägsame Folksongs und hat ein Album geschaffen, das sich wie eine Reihe persönlicher Durchbrüche anfühlt, die einer nach dem anderen eintreffen. Was zuerst an Mustafas Musik auffällt, ist seine Art zu schreiben: ein einfacher, durchdringender Ton, der jede Geschichte so roh und ernsthaft wirken lässt wie die Worte eines Liebesliedes. Mit seinem leisen Vortrag, der seine Umgebung zum Schweigen bringen kann, entwickelte sich Mustafa schnell vom Wunderkind, das in seiner Heimatstadt Toronto Gedichte rezitierte, zu einer Kraft, die hinter den Liedern steht und Popsongs schreibt. Auf "Dunya" ist er zu einem eigenständigen Autoren gereift. "Ich versuche, das gewöhnliche Leben im Ghetto zu bewahren und zu feiern", beschreibt Mustafa seine lyrische Inspiration. Die Songs, in denen er sein Aufwachsen und seinen weiteren Lebensweg beschreibt, sind gleichermaßen entwaffnend in ihrer Einfachheit und vielschichtig in ihrer emotionalen Bandbreite. Durch die Zusammenarbeit mit Aaron Dessner, Rosalía, Clairo, Nicolas Jaar und anderen sowie Mustafas langjährigem kreativen Partner Simon Hessmann offenbart die Musik eine selbstbewusste, unverwechselbare Stimme, die noch nie so massenkompatibel geklungen hat.

Ein brandneues Album von Benny Anderssons Orkester, unter Mitwirkung von Helene Sjöholm und Tommy Körberg. Alle Lieder wurden von Benny Andersson (Musik) und Björn Ulvaeus (Texte) geschrieben. Benny Andersson ist natürlich als Gründungsmitglied von ABBA bekannt. Er hat bereits 10 Alben mit BAO veröffentlicht, sowie ein von der Kritik hochgelobtes Album mit Klaviermusik (bei der Deutschen Grammophon GmbH).

2024 Repress

Hart & Tief returns. Pampa's dark bastard. The Proverbial black sheep. For the second statement from the label, we have the twin voices of DJ Koze and Robag Wruhme. Both are masters at remaining simultaneously identifiable yet surprising, and the freedom afforded by this fledgling label sees them push their respective milieus. Driven see's Koze return to previously mined percussive tropes and plumb a new minimalist clarity of emotion through maximal means. The track thuds, clicks and pumps in a singular trajectory that belies its complexity and compliments its title. Not to be outdone, Robag Wruhme provides X-mop 198, a slice of linear horror-techno that deftly re-contextualises its simplistic components in to a jagged and constantly surprising listen, creating a form of body music for the mind.

"Here is what 2014 felt like: The cold, rushed walk from the Montrose Avenue L to the downstairs entrance of 20 Meadow Street, an address you could never quite remember. The careful steep climb to the top of the nondescript building, where Titus Andronicus’s Patrick Stickles was waiting to take your balled-up cash and stamp the inside of your wrist. Standing beneath that jagged cardboard punk bunting, draped with tangled twinkle lights, while Joe Galarraga, frontman of Big Ups, slowly, menacingly, wound a microphone cable around his fist. Then a barbed F-sharp sprang forward from Amar Lal’s guitar, shaking the entirety of Shea Stadium to life.

For much of that time period, ten years now behind us, it would be easy to say, man, you just had to be there. You had to be there when Death By Audio closed. You had to be there when the Apple store opened on Bedford Ave. If you weren’t there when a small, specific subculture of New York City took over its abandoned lofts and grimy basements and squatted itself into community, that’s okay — it might be too clunky and myopic to explain now. Released in January 2014 to Dead Labour in the US and Tough Love Records in the UK, Eighteen Hours of Static stands even now as a triumphant representation of what Big Ups did so well over the course of their nine-year run as a band. Now, with the re-release of Big Ups’ killer debut full-length, those who didn’t get to experience all this the first time around will get a shot at living as if it’s the glory days again."

2xLP mit Redux Packaging/Artwork. Moses Sumney erweitert mit "græ" das Klanguniversum, das in seinem gefeierten Debütalbum "Aromanticism" und der anschließenden EP "Black In Deep Red, 2014" (2018) aufgebaut wurde. Sumneys zweites Album "græ" ist eine Behauptung, dass das Unbestimmbare immer noch existiert und das Verweilen darin ein Akt des Widerstands ist. Das Doppelalbum ist eine konzeptionelle Auseinandersetzung mit der Farbe Grau und untersucht das Spektrum der Grautöne in Bezug auf Farbe, Verschiebung, Zwischenräume und marginale Identität. Indem Sumney "græ" in zwei facettenreiche, dynamische Kapitel unterteilt, schafft er buchstäblich einen "grauen" Zwischenraum, in dem die Zuhörer die Kunst aufnehmen und betrachten können. Nicht unbedingt Singles, nicht unbedingt Alben, nie ganz allein Songs oder gesprochene Wortteile. Das alles ist weder hier noch dort. Weder das Eine, noch das Andere. Die Lieder auf "græ" mögen unterschiedlich erscheinen, aber es gibt immer diese Stimme, unverkennbar und durchdringend, welche die Stücke zusammenhält: eine himmlische Klinge, einen Walgesang, Miles' Flügelhorn. Das alles erschafft ein Paradoxon, das Aufmerksamkeit einfordert und den Atem raubt, in dem Kunst und Künstler sich der Festlegung entziehen. All dies ist "græ". Weder noch, wenn man so will.

Spectres have been stirring in the shadows for years now. Dark eyes watching from pallid faces. Siren songs calling to lost souls. In the blackest corners of the UK underground, a name whispered relentlessly amongst the faithful, first with curiosity, then soul-shuddering awe: Zetra.

Zetra is also the title of their striking debut LP. Ten tracks whose indefinable blend of shimmering shoegaze and pulsating goth-metal work deep beneath the skin, it is a masterclass in intimate dark romanticism and sweeping elemental beauty. It could be seen as a reaction to the geography of a strange new world, but also to the jagged topography of the human psyche itself. Is it a manifesto? A roadmap? A riddle waiting to be solved? Profound pleasure lies in peeling back its many layers.

Travelling alone, armed only with synths, guitar and drum-machine to compose, The Wanderers’ music could sound skeletal. Instead its early metallic bones have been fleshed-out with the electronic new-wave of Gary Numan and Pet Shop Boys and dreamy, droning guitars that hark to heroes like Slowdive and Sonic Youth as well as dark contemporaries Deafheaven and Alcest. As harsh as the truths with which they deal may be, these songs deliver beguiling brilliance.

Acolytes to spread the word of Zetra aren’t hard to find. British ‘contemporaries’ like Burner and Wallowing, Celestial Sanctuary and Employed To Serve have been dementedly singing their praises as far back as they can remember. Tours with the heavyweight likes of Creeper and Godflesh, VV and SKYND have taken their once-subterranean sounds into the spotlight. Unto Others’ Gabriel Franco (‘Moonfall’), Svalbard’s Serena Cherry (‘Starfall’) and Sólveig Matthildur Kristjánsdóttir from Iceland’s Kælan Mikla (‘Shatter The Mountain’) even crop up amongst these recordings, dissolving into the cult of Zetra themselves. But none are as important as the legions of fans Zetra are yet to reach with a dark gospel still unpicking all manner of psychological knots and existential truths.

Im Jahr 1998 standen Alanis Morissette und Co-Produzent Glen Ballard vor der herausfordernden Aufgabe, ein Album zu kreieren, das dem riesigen Erfolg von "Jagged Little Pill" gerecht werden konnte. Doch die beeindruckende und vielfältige Mischung auf "Supposed Former Infatuation Junkie" lässt "Jagged" fast zahm erscheinen. Das Album bietet eine bunte Palette an Stilen und Themen und erfüllte die Aufgabe, Alanis' Ruf nach dem großen Durchbruch ihres ebütalbums zu festigen, mit Bravour.


Anlässlich des 25. Jubiläums des Albums bringt die neue 'Thank U Edition' eine 2LP-Wiederveröffentlichung mit neu gestalteten Artworks sowie eine digitale Deluxe-Edition heraus, die seltene B-Seiten und Demos enthält. Zu den Hits zählen „Thank U“, „Unsent“ und „That I Would Be Good“.




[a] a1. FRONT ROW [4:12]
[b] a2. BABA [4:28]
[c] a3. THANK U [4:17]
[d] a4. ARE YOU STILL MAD [4:03]
[e] b1. SYMPATHETIC CHARACTER [5:11]
[f] b2.. THAT I WOULD BE GOOD [4:16]
[g] b3. THE COUCH [5:23]
[h] b4. CAN’T NOT [4:35]
[i] c1. UR [3:30]
[j] c2. I WAS HOPING [3:49]
[k] c3. ONE [4:39]
[l] c4. WOULD NOT COME [4:04]
[m] d1. UNSENT [4:09]
[n] d2. SO PURE [2:50]
[o] d3. JOINING YOU [4:24]
[p] d4. HEART OF THE HOUSE [3:45]
[q] d5. YOUR CONGRATULATIONS [3:54]

Im Jahr 1998 standen Alanis Morissette und Co-Produzent Glen Ballard vor der herausfordernden Aufgabe, ein Album zu kreieren, das dem riesigen Erfolg von "Jagged Little Pill" gerecht werden konnte. Doch die beeindruckende und vielfältige Mischung auf "Supposed Former Infatuation Junkie" lässt "Jagged" fast zahm erscheinen. Das Album bietet eine bunte Palette an Stilen und Themen und erfüllte die Aufgabe, Alanis' Ruf nach dem großen Durchbruch ihres ebütalbums zu festigen, mit Bravour.


Anlässlich des 25. Jubiläums des Albums bringt die neue 'Thank U Edition' eine 2LP-Wiederveröffentlichung mit neu gestalteten Artworks sowie eine digitale Deluxe-Edition heraus, die seltene B-Seiten und Demos enthält. Zu den Hits zählen „Thank U“, „Unsent“ und „That I Would Be Good“.




a a1. FRONT ROW [4:12]
[b] a2. BABA [4:28]
[c] a3. THANK U [4:17]
[d] a4. ARE YOU STILL MAD [4:03]
[e] b1. SYMPATHETIC CHARACTER [5:11]
[f] b2.. THAT I WOULD BE GOOD [4:16]
[g] b3. THE COUCH [5:23]
[h] b4. CAN’T NOT [4:35]
[i] c1. UR [3:30]
[j] c2. I WAS HOPING [3:49]
[k] c3. ONE [4:39]
[l] c4. WOULD NOT COME [4:04]
[m] d1. UNSENT [4:09]
[n] d2. SO PURE [2:50]
[o] d3. JOINING YOU [4:24]
[p] d4. HEART OF THE HOUSE [3:45]
[q] d5. YOUR CONGRATULATIONS [3:54]

[a] a1. FRONT ROW [4:12]
[b] a2. BABA [4:28]
[c] a3. THANK U [4:17]
[d] a4. ARE YOU STILL MAD [4:03]
[e] b1. SYMPATHETIC CHARACTER [5:11]
[f] b2.. THAT I WOULD BE GOOD [4:16]
[g] b3. THE COUCH [5:23]
[h] b4. CAN’T NOT [4:35]
[i] c1. UR [3:30]
[j] c2. I WAS HOPING [3:49]
[k] c3. ONE [4:39]
[l] c4. WOULD NOT COME [4:04]
[m] d1. UNSENT [4:09]
[n] d2. SO PURE [2:50]
[o] d3. JOINING YOU [4:24]
[p] d4. HEART OF THE HOUSE [3:45]
[q] d5. YOUR CONGRATULATIONS [3:54]

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

Wieder einmal zerschneiden die Lärmaggressoren aus Finland den Schleier aus dem Jenseits und betreten unsere Welt, um alles zu plündern und zu Tode zu jagen, was in der Metalmusik melodisch, vorhersehbar und lieblich ist. Ihr drittes Album ist aus zwingenden Gründen selbstbetitelt und zeigt, dass die Band weiterhin das EXTREME im extremen Metal erforscht. Das ist vertonte Tollwut! Wie nicht anders zu erwarten, setzt das Album auf brutale Geschwindigkeit, schwerste zitternde Rhythmuspassagen, abgrundtief gekrächzte Flüche, stürmische Breaks und abstoßend kreischende Leads, die einen in einem Strudel des Wahnsinns ertrinken lassen. Doch dieses Mal werden dem pandemonischen Universum auch neue Schichten hinzugefügt: Schräge Stakkato-Riffing-Abschnitte gehen in verhexende Industrial-Szenarien über und lassen CONCRETE WINDS weiter gehen als jede andere Extrem-Metal-Band der letzten Zeit. Alles, was sich in der Musik etabliert hat, wurde weggelassen; alles abgeschnitten, was im Metal bequem geworden ist, und alles weggeblasen, was sich im Extrem-Metal noch "angemessen" anfühlt. Es scheint, als ob diese einst dringende Einstellung, Grenzen auszuloten, endlich wieder einen neuen Steuermann hat!

Clear Blue Vinyl! Van Etten originally recorded "Silent Night" in 2018 for Eric Paschal Johnson 's short film The Letter. Her version of "Blue Christmas" appeared in 2009 on a benefit album titled Do You EAR what I Ear. "The holidays are just around the corner, and since I'm always late to the party, I thought I'd share two holiday songs I recorded. Nothing really beats the Bob Dylan Christmas record for me _ but I hope they bring you joy." - Sharon Van Etten

Introducing ‘Total Blue’, the Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico. Despite collaborating for over a decade, ‘Total Blue’ represents a new chapter in their artistic journey together as a trio.

Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.

Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.

Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.

Art and design by Michael Willis.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.