Ouzo Bazooka "Kapaim"
Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head-snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted.
Across five albums and a decade, Ouzo Bazooka have gained acclaim for their pioneering blend of Middle Eastern sounds, psych, and surf rock. The band has achieved international recognition for their music and performances, from the UK all the way to Japan, including The Great Escape, Fuji Rock, and Sziget Festivals. At one point, they played over 150 shows annually, solidifying their reputation as a powerhouse live act. Their critically acclaimed EP, Songs From 1001 Nights, was hailed as “a soaring adventure in exotic reverb and swirling lysergic synth hooks”.
The title track, “Kapaim”, urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks.
An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James’ heavily sampled “Nautilus” on “Seed”, before Kinrot makes a rare vocal appearance, imagining himself as a seed at the centre of the universe.
Having played a key role in the global instrumental movement, Kinrot stands among peers such as JJ Whitefield, Shawn Lee and Kutiman. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No’s Oxperiment, will find much to love.
A testament to Kinrot’s incredible talent – not least his meticulous arranging, production skills, and ear for soul, funk, and psychedelic rock, as well as his ability to blend musical traditions across cultures and eras – Kapaim carries a deep emotional resonance. It is Ouzo Bazooka’s most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.
Trigger "Second Round"
Ty Segall "Possession"
Ty hits the big sky trail of our good ol’ frontier empire, discovering non-stop bangers and inspired new sonics around every bend. With lyrics co-written by longtime collaborator, filmmaker Matt Yoka, Ty’s glittering rhythm arrangements move with fresh scansion, inviting in sweeps of strings and horns to further the charge righteously. You’re invited too! Don’t miss the trip – the country inspires awe from up on Ty’s high-octane ride.
Sexfaces "Bad Vibes OST"
In the sticky-floored underbelly of Washington DC, where the amps buzz louder than the city’s bullshit, SEXFACES have been brewing something gnarly. Their debut full-length, BAD VIBES OST, is a full-noise, zero-fluff slab of punked-up nihilism. Recorded and mixed in April 2024 under the ever-present shadow of Boner 4Ever by Dan Angel and produced by Ben Schurr, this 11-track dose of chaotic energy is the sound of a band that knows exactly what it’s doing — and doesn’t care if you like it or not.
SEXFACES ain’t here to play nice. Jacky Cougar (Des Demonas, Thee Lolitas) pounds the drums like they owe him money, while Sal Go (Stop Worrying & Love the Bomb, The NVs) saws through the noise with guitar that’s equal parts bratty and brutal. Hana Racecar (Tadzio, Coven Tree) layers in viola with a sneering elegance, and FiFi Allin (TK Echo, Et At It) slings basslines that punch and swerve. Together, they churn out a sound that drags the droney madness of the Velvet Underground through the gutter, filters it through The Fall’s acerbic wit, and ties it all together with the punk attack of The Damned and the scuzzy swagger of Royal Trux.
If you like your rock ‘n’ roll with a side of bloodshot eyes and bad decisions, BAD VIBES OST is for you. SEXFACES have arrived, and they’re not cleaning up after themselves.