La Chooma "Local Spirits"
Psychedelic dub, Afro-Latin rhythms and cosmic grooves come together on La Chooma’s self-titled debut for Batov Records. Drawing on Moroccan Gnawa, Colombian cumbia, Afrobeat, Jamaica dub & roots, and cosmic jazz, the six-piece ensemble create deep, hypnotic music rooted in global traditions and shaped for contemporary dancefloors.
Having already captivated local audiences with their hypnotic, organic live performances, La Chooma – now a six-piece ensemble – have been steadily building an international following. Initial singles “Magic Plant” and “Huachuma” earned support from tastemakers including BBC Radio 6 Music’s Deb Grant and Tom Ravenscroft.
La Chooma draw dotted lines across time and space, finding hidden connections and shared frequencies, pulling threads together into a sound that hypnotises the mind and moves the body.
Moviola "Earthbound"
Earthbound. Interstellar overdriving or rooted in terra firma? Both, both. On their 11th album, 30 years down the line, Columbus, Ohio collective Moviola step on with a world-weary stride, holding two thoughts at the same time, containing multitudes, making the most personal, direct, and urgent music of their lives.
Superchuck "Songs in the key of Yikes"
In seeking an answer, Superchunk unleash a sound that is triumphant and bright in the darkness, Majesty Shredding in overdrive. Songs in the Key of Yikes is a signature Superchunk album: visceral and timeless and catchy as hell—a cathartic balm for these oppressive times that will feel even better once we’ve figured our collective shit out.
Star Moles "Snack Monster"
This album kind of started as an academic pursuit. I was taking a course on medieval literature when I was introduced to Andreas Capellanus’ Rules of Courtly Love. Initially, I thought it would be a great idea to make a concept album with a song for each rule. As you’ll see, this album has only 7 tracks which isn’t even close to the number of rules there are. But certain rules immediately inspired me and captured my attention. The song “Tides” is about jealousy (Rule 2: He who is not jealous cannot love). The song “Why” is about not starving oneself of love (Rule 8: No one should be deprived of love without the very best of reasons). The song “Rules of the Court” is, as one might assume, about a romance that abides by these rules, many of which reflect on the tormented state of the lover, pining in secrecy and constant fear of losing love.
After a few years of boring, therapized love songs in the pop sphere idealizing romance between individuals who have “worked on themselves” and reached a state of mental, spiritual, physical, and financial wellness (read: purity) I was just so moved by this concept of complicated and messy romance as art. The name Snack Monster was a working title of unknown origin that just stuck. But it’s fitting, since these songs are about love in morsels, craved and devoured and driving you insane.