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Always traveling, El Gato Negro, the moniker of "nomadic" singer/songwriter and multi-instrumentalist, stopped this time in Dakar, Senegal to record his new album “Tigre qui pleure” (“Crying Tiger”). In a combination of West African and Cuban musicians, under El Gato's Colombian flute, Jazz blends with Hip-Hop, traditional with digital, French with Wolof and Spanish. In this third album, produced by GUTS, El Gato Negro invited his musical family (Florian Pellissier, Kumar, Orchestra Baobab, Cucurucho Valdés, Pat Kalla, Cyril Atef, iZem, Djeuhdjoah & Lieutenant Nicholson...) and dropped his festive mask to let Axel, the melancholic, express himself.

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III. Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres. Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore. The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise. Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.