quête:k drive

Revisiting a press release for the Nightingales' last album, Four Against Fate, we recalled hesitant anticipation for the forthcoming King Rocker, a film documentary of Robert Lloyd and Nightingales, made by Michael Cumming and Stewart Lee. After forty years of activity, Robert and the band had seen hyped recordings go lost, scant commercial success. Royalties? Ha. Yet response to King Rocker was immediately positive. Fab reviews galore, a long process regaining master rights which led to a series of expanded reissues with Fire. A tour postponed three times finally took place, to fully-packed houses. It was a very good year. The band felt a degree of anxiety prior to the sessions, which took place at Valencia's Elefante Studios. With bassist Andi Schmid isolated during Covid, the band had yet begun working out individual rough sketches, typically battered into songs over a period of months. They went into a new studio blind, with a new producer, Jorge Bernabe, without rehearsals . . . and produced a top-to-bottom masterpiece. Thirty seconds in, "Sunlit Uplands", is already a classic showcasing Fliss Kitson's increased songwriting power and the core dichotomy of the groups's best songs: perverse as fuck, catchy as fuck. I � CCTV is highlighted by a fab Jim Smith astral-garage guitar riff . . . and that's a one-two punch few albums ever equal, let alone carry over to the affectionate "Frances Sokolov", Robert's ode to mentor Vi Subversa, the playground riff that underlines "Spread Yourself Out" and then "Bloody Breath", the best encapsulation of all the band's genius in developing a kind of "pop" that no other combo has ever cracked. Other highlights include the lopsided mysterious beauty of "Magical Left Foot", the courtly raver of "I Need The Money At The Time" with a wonderful motorik groove driven by bassist Andi Schmid, and the album closer, "My Sweet Friend", a rockabilly lullaby which sounds like a magical outtake from Robert's one and only solo album It's a corker, it's a marvel, it's the best Nightingales record to date. Try and deny it. Tracks: 1 Sunlight Uplands (Turn That Frown Upside Down) 2 I � CCTV 3 Frances Sokolov 4 Spread Yourself Out 5 Bloody Breath 6 Mind Of Stone 7 I Needed The Money At The Time 8 The Very Nature 9 Magical Left Foot 10 Mark Meets No Mark 11 My Sweet Friend

For Fans Of Garage Punk, Power Pop, Cheap Trick, Dollyrots, Suzi Moon, Pretenders, Blondie, The Muffs, 5.6.7.8’s. One part pop, one part poison, all “poolside glitter punk,” Hayley and the Crushers offer up a tsunami of bad girl power. Anointed “the naked embodiment of power pop punk” by New Wave icon Josie Cotton (who signed the band to her Kitten Robot Records in 2021), Modern Adult Kicks is their most ambitious and self-possessed album to date. Produced by legendary LA punk producer and ex-Screamer Paul Roessler (TSOL, Josie Cotton, Richie Ramone), the album conjures up the electricity of first-car freedom, the woes of suburban isolation and the lurid pleasures of Y2K chat rooms all wrapped in the warm glow of a late-night infomercial. While the content is no doubt “adult,” there’s no shortage of kicks to be had. The California-to-Detroit transplants have injected even the most bummer of subjects (addiction, heartbreak) with a potent venom of caffeine and heart. Sure, BUST Magazine once likened the band to a bag of Sour Patch Kids, but this new album reveals fresh depths of flavor. Crafted in a post-Covid world, Modern Adult Kicks is exactly what it advertises to be: a more put-together, wiser “big sister” to the band’s sunny 2020 release, Vintage Millennial. Like finally being old enough to party with the babysitter, Kicks is a shining example of how growing up can actually rule. In the Crushers’ world, growing jaded isn’t an option and there’s never a good reason to stop dancing. Tracks 1 Taboo 2 Cul de Sac 3 She Drives 4 Broken Window 5 I Fall 6 Click and 7 Act Now 8 Lost Cause 9 California 10 Sober 11 No Substitutes 12 Overexposed

Baltimore’s Julien Chang writes music that tunnels
toward a series of deeper truths, investigating
everyday existentialism, love and life, art and the artist.
Arriving in 2019 with his critically acclaimed album
‘Jules’, Chang set a precedent with his breezy, dreamy
debut and is now exacting his focus on 2022 with new
music.
 Chang’s second album, ‘The Sale’, testifies to his
talents as he wrestles with enviable grace across his
new 12-track opus the idea of estrangement and the
problematics of artistic creation. Chang leans sonically
into indie-pop, with guitar-driven instrumentation
burbling across punchy drums and his layered,
ethereal vocals, yet the album is still replete with
touchstones of the psychedelic popcraft that
enamoured listeners on his debut.
 Recorded partially in his hometown of Baltimore and
partially in his dorm room at Princeton, ‘The Sale’ is a
homegrown effort with Chang playing all instruments,
bar the odd exception of a few notable cameos from
Baltimore locals, classmates and old friends. Following
his debut ‘Jules’ - which saw Chang earn praise from
the likes of Pitchfork, Fader, The Guardian, NME, Loud
& Quiet, DIY and Billboard, alongside support from
BBC Radio 1 and 6 Music via Annie Mac, Jack
Saunders and Jamz Supernova - his new album
explores the discrepancy between two worlds, a
struggle to get comfortable in either one of them, and
ultimately an artistic fascination with this very struggle.
 A statement of intent from an artist who promises to be
an important rising voice of our times, Chang’s new
album is released on CD and crystal clear vinyl.

Now available in green marble vinyl. 'Gettin' by on Gettin' Down" is the
follow up to Sam Morrow's career-defining third record 'Concrete and
Mud', a staple of Americana radio on both sides of the Atlantic, with
outlets like Rolling Stone and NPR singing the album's praises
'Gettin' By on Gettin' Down' is a modern album that revisits and reshapes the
primordial sounds of hip- shaking rock & roll. These nine songs are rooted in
grease, grit, and groove, from the swampy soul of "Round 'N Round" to the funky
syncopation of "Rosarita" to the hook-laden rock of "Money Ain't a Thing". There's
hardly an acoustic guitar in sight; instead, amplifiers and guitar pedals rule the
roost, with everything driven forward by percussive rhythms that as much to R&B
as country music. Written and recorded in the wake of 'Concrete & Mud's'
acclaimed tour, 'Gettin' By on Gettin' Down' doubles down on the electrified fire
and fury of Sam Morrow's live shows, with a road-ready band joining him on every
song. Co- Produced with Grammy nominated producer Eric Corne. Musicians
include alumni from bands like Lucinda Williams, Dwight Yoakam, Merle Haggard,
Jacob Dylan and John Mayer. The album was recorded at The Doors' Robby
Krieger's studio.

Now available in green marble vinyl. 'Gettin' by on Gettin' Down" is the
follow up to Sam Morrow's career-defining third record 'Concrete and
Mud', a staple of Americana radio on both sides of the Atlantic, with
outlets like Rolling Stone and NPR singing the album's praises
'Gettin' By on Gettin' Down' is a modern album that revisits and reshapes the
primordial sounds of hip- shaking rock & roll. These nine songs are rooted in
grease, grit, and groove, from the swampy soul of "Round 'N Round" to the funky
syncopation of "Rosarita" to the hook-laden rock of "Money Ain't a Thing". There's
hardly an acoustic guitar in sight; instead, amplifiers and guitar pedals rule the
roost, with everything driven forward by percussive rhythms that as much to R&B
as country music. Written and recorded in the wake of 'Concrete & Mud's'
acclaimed tour, 'Gettin' By on Gettin' Down' doubles down on the electrified fire
and fury of Sam Morrow's live shows, with a road-ready band joining him on every
song. Co- Produced with Grammy nominated producer Eric Corne. Musicians
include alumni from bands like Lucinda Williams, Dwight Yoakam, Merle Haggard,
Jacob Dylan and John Mayer. The album was recorded at The Doors' Robby
Krieger's studio.

Improvisation, composition, language and culture meet, merge and
influence each other
Under The Surface knows no boundaries. On their extraordinary third album, the
group reflects on their own background and finds their own "folk".After the
group's first two completely free-improvisation albums, Under The Surface (2017)
and Trinity(2019), both nominated for an Edison, the nextstep for Under The
Surface is a fully composed album: Miin Triuwa.
Under The Surface was formed in 2015 and since then the band has enjoyed a
great deal of international success. Drummer Joost Lijbaart recognised the
group's potential early on and organized more than 200 concerts in 25 countries
on 4 continents: from Africa to South America, Asia, the Middle East and Europe.
Inspired by their many travels and the cultures they encountered, the group
developed a unique improvisation language thatcombines jazz, folk, ethnic and
electronic music.
With Miin Triuwa, Under The Surface embarks on a new musical journey with
compositions by guitarist Bram Stadhouders. He wrote a suite of eightpieces in
which the characters and qualities of the band members are transcendent. The
constantly changing improvisations that are so characteristic of the band are now
captured in a powerful musical statement that showcases what the band stands
for. Instead of traveling to other worlds, in this project the group looks inward and
explores how their own roots influence their music.
Under The Surface has a common drive to find the universal essence of different
cultures. Thus, for this album the connection was made with theband's own
"forgotten" language, Old Dutch. With the help of historical linguist PeterAlexander Kerkhof and the Dutch Language Institute, Sanne Rambags carried out
research and wrote beautiful lyrics for the album in Old Dutch. This is the
language that was spoken in the Netherlands from circa 600 to 1150 CE and
sounds similar to Gaelic and Icelandic. Below is a short excerpt from Track 3,
"Fear and Trembling," from the album Miin Triuwa.

Jet Set is a collection of 15 carefully crafted guitar-driven songs that
prove to be the most diverse and inventive of Los Straitjackets' oeuvre
The album was recorded at The Pow Wow Fun Room studios in Los Angeles with
producer and friend Janne Haavisto (of Laika and the Cosmonauts) and includes
a few guest appearances by The Basic Cable Horns (from the Conan show) and
Finnish actress and musician Irina Bjorklund. Jet Set delivers the high-energy rock
and roll instrumental music fans have come to expect from Los Straitjackets.
This 10th anniversary edition of Los Straitjackets' long-out-of-print 2012 classic is
pressed on sky blue vinyl

Well known as the Deep’a half of Deep’a & Biri, and a huge influential source of energy and innovation in Tel Aviv’s house and techno community, Yaron Amor goes solo for the very first time with an incredibly personal project. Introducing Zeena…
“The decision about the solo project was made during a visit to Morocco, in the main city square of Marrakesh I came across an improvised jam of 20 drummers from all over the country, the crazy rhythms they played together spontaneously amazed me and made me realize that the perfect beat I've been looking for, for so many years, was under my nose. In Arabic and Moroccan music that was constantly played in the house where I grew up…”
Home is where the soul is… Zeena translates to beauty in Moroccan and this label exists wholly to celebrate and push cutting edge Arab electronic music. It starts here with Yaron’s first solo EP. The result of an inspired creative series of recordings with drummers and musicians from Israel, Algiers, Morocco, and Berlin, across three tracks we’re taken on a beautiful excursion of emotions, tension and introspective places.
“I tried to merge together influences from the world of techno which I have been active in for almost 20 years along with the rhythms of Arabic music while paying respect to each of the genres.”
From the tension and powerful emotion of ‘The Pain Body’ (a mesmerising kick-less tableaux that would work perfectly for an intro or mid-set game-changer) to the powerful synth-laced Detroitian drive and thump of title track ‘Zeena’ via the wild rolling toms of ‘Omipresence’, this is Yaron Amor as we’ve never heard him before… Raw, honest, direct and totally at home. The middle east has played a huge role in so many inspirations, influences and sample sources since the very start of electronic music. Now its time to bring that to the fore and celebrate it on a whole new level. Zeena is that level. Stay tuned…

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Herdersmat.
Morderstwo.
Rotterdam.
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The legendary Brownsville duo of Lil Fame and Billy Danze followed up their first group single "How About Some Hardcore" with their first full-length studio album, To The Death, in the Spring of 1994, and they haven’t let up the pressure since. While some solo offerings came earlier - most notably Fame’s appearance on The Hill That’s Real compilation- the classic aggressive energy the two emcees exhibit while trading rhymes back and forth is what street-rap fans have come to know and love from the group. If you are not into the that smash-ya-face-in style, then simply put, the Mash Out Posse is not for you. The album was produced entirely by DR Period, except for track "Guns N' Roses" (produced by Silver D), and it solidified what has become a successful 30 year career for M.O.P. Fame and Danze haven’t waivered from their grimy, crimey, high-energy boom bap style to this day, and the songs on this album established that fact early on. Tracks like "Rugged Neva Smoove", “Blue Steel”, “Guns N’ Roses”, and the robbery-story driven "Heistmasters" are early indicators of the ruckus they would later bring on anthems like “Stick To Ya Gunz” and “Ante Up”.

Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. "I know people say, `Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."

Directed by David Robert Mitchell, the supernatural horror film It Follows tells the story of a teenager (Maika Monroe) who finds herself haunted by nightmarish visions and the inescapable sense that something menacing is after her. The film was met with much critical acclaim and established Monroe as the movie industry’s newest “scream queen”.

It Follows features a stunning, electronic-driven score, heavy with pulsating synths and dread in equal measure. It was composed by the renowned musician Disasterpeace. This electro, 80s influenced score is a character in itself in the movie, and will haunt the listener long after the film has stopped rolling.

The third and most seasoned Drugdealer album, Hiding In Plain Sight, almost didn't happen at all. Frustrated and insecure with his own singing voice prior to the pandemic, Drugdealer founder and primary songwriter Michael Collins was nearly ready to throw in the towel. Due to a frequent impulse to hand over the microphone to friends and collaborators like Weyes Blood, Jackson MacIntosh, and his trusty musical companion Sasha Winn, Collins became increasingly unsure of himself as a singer. While attending Mexican Summer's annual Marfa Myths festival, a chance encounter with artist and composer Annette Peacock changed his outlook. Collins says, "I was so inspired by Annette. But similarly to all these other vocalists I'd worked with, I didn't feel like I had it in me." he recalls. "I told her my plight, then I played her a song, and she told me I wasn't singing high enough for my speaking voice. When I returned to LA, I started coming up with new progressions, which I'd modulate up three half steps. It forced me to find a new way to sing." "Madison," is the first song Collins wrote singing in this suggested range. His newfound confidence as a yarn-spinning vocalist in the gruff tenor tradition of Nick Lowe, or even Van Morrison, is readily apparent, with Conor "Catfish" Gallaher's pedal steel adding a dusting of cosmic country to Collins' down-hard love song. When Collins wrote the would-be AM Gold hit, he was summoning an imaginary vision of a love that had eluded him in reality. Tim Presley sings on the second song, "Baby," and Collins had a clear role in mind for the California avant-rock mainstay. "I love White Fence so much, but I also wanted to hear Presley sing a song that sounded like an early '60s sock hop band who had never tried drugs in their life." Meanwhile, Kate Bollinger floats an effervescent lead vocal over the Rhodes-driven groove in “Pictures of You.”. Taking inspiration from a canon of gruff but soulful rock vocalists like Phil Lynott, Collins looks back on his nocturnal meanderings through LA's warrens of bars and clubs ("New Fascination"). He’s right up front in the mix, detailing a search for love in all the wrong places.

HOAXED unveil their captivating and catchy debut full-length, Two Shadows! Comprised of vocalist/guitarist Kat Keo and drummer Kim Coffel, HOAXED's superlative blend of styles—heavy melodic rock with captivating hooks, gothic undertones, undeniable metal, and tinges of americana - pave the way for a singular expression that’s entirely their own. Two Shadows is as unique as it is memorable and catchy. The record thrusts, retreats, and beguiles across its melody-powered and hook-driven expanse, with earworms “The Call,” “Guilty Ones,” and “The Knowing” serving as the album’s crucial lighthouses. Formed in Portland, Oregon, in 2020, HOAXED's initial songwriting plan casts a wide net. The breach opened up considerably as Coffel and Keo explored the outer edges of their musical influences and artistic aspirations. After fruitful songwriting sessions, the twosome self-released their eponymous four- song EP in February 2021. Signaled by the whirring, diaphanous spell of video single "Candle Master", HOAXED caught the attention of Relapse Records, who signed the outfit in 2021. As a live act, the pair has already hit the ground running, rocking the stage with Unto Others, Blackwater Holylight, and Amorphis, and hailed as an “absolute riot on stage.” (Metal Insider) Shortform: HOAXED unveil their captivating and catchy debut full-length, Two Shadows! Comprised of vocalist/guitarist Kat Keo and drummer Kim Coffel, HOAXED’s superlative blend of styles— heavy melodic rock with captivating hooks, gothic undertones, undeniable metal, and tinges of americana —paves the way for a singular expression that’s entirely their own. FFO: (Early) Ghost, Black Sabbath, Tribulation, My Dying Bride, Unto Others, Blood Ceremony, Katatonia

Repress!

Originally released in 2011 with a limited pressing and repressed once a few years later in 2016. “Right now in cities across the globe, there are plenty of great Afrobeat revivalist bands aping the sound and groove of Fela Kuti’s legendary sound. Yet, surprisingly few of the new groups have strayed from an orthodox interpretation of the genre or done much real innovation. ..Ikebe Shakedown is here to change that. The band takes signature Afrobeat elements—big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from '70s-style horn-driven funk”. -Marlon Bishop, WNYC

Ikebe Shakedown, the self-titled album and Ubiquity Records debut from the Brooklyn-based band, plays with elements of Cinematic Soul, Afro-funk, Deep Disco, and Boogaloo in all the right ways. Pushing their globally-informed sound and eclectic approach to tune-writing into new territory, “Self-titling the album is a way to introduce the audience to the many facets of the band -- to provide a more complete understanding of what we do,” bassist Vince Chiarito says. “Our sound has grown to incorporate our influences without overtly representing any one in particular. It just sounds like us," he adds.

Low Company presents Yuta Matsumura’s Red Ribbon, a sequence of introspective, lavishly melodic dream-songs and amphibian atmospheres recorded in scattered periods over 2018-21. Having played in bands like Low Life, M.O.B. and Orion, and the duo Jay & Yuta (with Jay Cruikshank), Red Ribbon is Matsumura’s first solo outing, and represents a conscious effort to move away from guitar-based songwriting. He composed its nine tracks mostly on piano - layering vocals, bass, keyboards, flute (courtesy of Maeve Parker), violin/cello (Laurence Quinn) and clacking drumbox rhythms into dynamic, dubwise avant-pop structures which are supple and spacious but fizzing with detail and vivid inner life. The laconic 4/4 pulse, heat-warped synth-tones and haunting vaporous melodica of opener ‘Box Garden’ set the tone: its surreal psychedelic patternings barely concealing a deep sting of longing and regret. The cryptic lyrics suggest chance encounters, hidden logic, missed opportunities, fatalism, serendipity. A city submerged: everyone else paused mid-movement, while you’re allowed to swim free and fish-like through the streets, over the rooftops...‘Tangled Orchid’ is a tense night-drive through dry desert heat and into the unknown, running away from your old life, chased down by dust-devils of half-baked schemes and abandoned plans, while ‘Myth Machine’ drops the tempo and something mind-altering, guiding us on a tripped-out dub-disco scuba among alien flora and fauna, a world of impossible shapes and sensations. At which point, the mood of the album decisively shifts, firstly with ‘Sake No Otoh’, sung in Japanese by Haruka Sato: an instant-classic, breathtakingly intimate lover's lament that sounds like it got lost on its way to heaven and is now doomed to orbit the earth forever. The songs that follow continue in this more confessional, imploring mode. As if the travelling's done, the baggage has been cast off, and we’ve arrived at our destination, where the real process of rebirth and repair can begin. The music’s textures become less overtly dubby and electronic, with more of an organic, earthy, chamber-pop/avant-folk feel, at once sad and hopeful-sounding. Three songs in particular bear the influence of Eno’s 70s work (and its mutant bedsit offspring Lifetones, Flaming Tunes, etc): ‘‘E. Potential’, where baroquely chorused vocals - half-agonised, half-beatific - teeter on top of simple oscillating piano loops, and the stately, dawntreading ballads ‘Tabula Rasa’ and ‘No Sleep For Birds’. The bulk of the album was made prior to lockdowns and all of that; its themes of reset, self-examination, the need to f**k it all off and take spiritual stock, are timeless. Though they perhaps have a more bittersweet resonance now the world has returned pretty much to how it was, only worse. Track list: 1. Box Garden 2. Tangled Orchid 3. Myth Machine 4. Red Ribbon 5. Soko No Ato 6. Tabula Rasa 7. E. Potential 8. No Sleep For Birds 9. Zookeeper's Trial

A true love letter to house music, Larson presents his account of the ubiquitous dance music genre diving deep into its origins. Connecting the dots with some of the genre’s most beloved innovators such as Larry Heard, Boo Williams, Ron Trent, Chez Damier or Chris Brann, the Belgian producer pays tribute by adding his own emphases. Setting a bright mood, at times aiming for the dance floor, at others comforting the listener into a casual vibe, Larson is not seeking, but spontaneously drawing attention with his graceful sounds, stripped to the bone and built on an intuitive factor.

Larson hails from Liège, the South Belgian city known for its meat balls and the mighty river La Meuse, and works as a sound editor in movie production. Recognised by those-who-know as one of the most quintessential figures of Liège’s burgeoning underground nightlife scene, the time is now for Larson to step forward. His 2x12” debut release dubbed ‘Interlace Joy Motions’ is one for the house heads, shifting between 121 and 130 BPM and showcasing the diverse sounds the producer has in store.

Opening track Our Inner Sun has smiles written all over. A simple yet effective piano loop, warm strings and a delicately running acid baseline are all Larson needs to set the standard for the beauty that is yet to come. Effortlessly entertaining for close to seven minutes, here is the essence of timeless house music at work.

Pushing up the speed up to 129 BPM, A2 brings the brand new label’s title track, Larson’s take on the many meanings the name may represent. Designed for jubilant dance floor action, Hi Scores is punchy and elegant at the same time.

On the flip side, Slack Breeze is an eleven-minutes-long breezy electro trip paying homage to Detroit music pioneer Juan Atkins and offers two mixes, nicely manufactured as one auditive whole on the vinyl record with a useful visual marker in between. Be aware of the slight tempo drop between the bold Club mix and the more laid back Sensual mix.

In a cultured and charming manner, Lethal Dance opens the second 12”. Driven by a fab bassline and soft as silk string arrangements, here is a slow burner for moments lost track of time. High Jazz Travel on C2 continues this trip to lofty spaces, speeding up the pace but holding on to Larson’s well crafted dream universe, with its mellow aura almost turning into a debonair lullaby for grown-ups.

Adding another layer to the cake is Chris ‘Funk’ Ferreira, the C12 resident DJ and ½ Senga Ferreira. Also active as the mixing engineer of this double 12”, on the D1 the Brussels based producer takes up the role as remixer with his stomping and energy building ‘Magic Force’ version of Hi Scores, contributing the single vocal sample to the EP. Things come to an end with Souvenir d’Enfance, a playful and innocent conga driven house track, cherished as a safe and sound childhood memory, forever in our hearts just as this excellent debut by Larson.

This two sided split record between Roberto Auser and Melting Dogmas is a showcase of two sides of contemporary elektro… on one side there is the music of electro veteran Roberto Auser… his modular synth sounds are minimal electronics and 80’s inspired… but these two tracks are a bit different then the beat driven music he released mostly these past few years… despite his recognizable sound these two tracks deliver something new to his repertoire… less beat driven but still very much rhythmic… some industrial and pulsating sounds keep these tracks going and even suitable for the dancefloor late at night or early in the morning… I wish for more of this from Herr Auser! Melting Dogmas is 4Cantons together with Numèric… if you are familiar with the debut EP by 4Cantons then you will recognize his dark elektro sound… but these two debut tracks of Melting Dogmas are a bit more complex… without losing their club minded attitude… the sounds of Melting Dogmas is idm driven with elektro and techno elements all there in a perfect mix and maybe even making these tracks punchier as the music by 4Cantons… and at the same time also a bit more daring… the structure is less straight forward with a good balance between building up the tension and full out beat parts… just like 4Cantons I cannot recommend enough to keep an eye out for Melting Dogmas… it is very hopeful to have musicians like this around with such good and daring sounds…

Yellow Vinyl

"Onyeabor 80" draws equal influence from War, William Onyeabor, and Isaac Hayes. This steady groover is sure to keep the dance-floor moving! On the flip side we have "Bongo Grove", an Incredible Bongo Band influenced, upbeat horn-driven anthem. This one features Mitchum Yacoub on Bongos. Members of The Sure Fire Soul Ensemble, Mestizo Beat, and Mitchum Yacoub exploring new tones and directions!