No Longer, Not Yet è un “film istantaneo” che cerca pretestuosamente di fermare il movimento. Il titolo si riferisce a una zona di transito, in cui tutto si dispiega e fiorisce. Questo spazio non è interpretato come esclusivamente musicale; rappresenta invece quello spazio liminare in cui ci muoviamo e creiamo, sia distaccandoci da ciò che ci lasciamo alle spalle, sia aprendoci a ciò che potrebbe accadere in futuro.

L’intero disco è stato concepito attraverso un meticoloso lavoro di giustapposizione e collage sonoro, che ha fortemente influenzato (e invertito) la pratica compositiva della band. Questa tecnica ha favorito un dialogo aperto tra i mondi sonori sopra citati, dando vita a una forma compositiva più ampia, in cui i materiali sonori esistono anche dopo che si sono verificati, come un filo invisibile che lega tutti questi elementi insieme.

E se Morton Feldman diventasse blues? Il singolo “Narrow Pass” è fatto di silenzi, ripetizioni e interferenze che creano un mantra bollente che si dispiega lentamente in un parco giochi all’aperto popolato di bambini.

Italian experimental trio She’s Analog has released “Narrow Pass,” the second single taken from their upcoming album No Longer, Not Yet which will be released on May 30, 2025 via Carton Records and Torto Editions.

No Longer, Not Yetis an “instant film” that pretentiously tries to stop movement. The title refers to a zone of transit, in which everything unfolds and blooms. This space isn’t interpreted as exclusively musical; instead it represents that liminal space in which we move and create, both detaching from what we leave behind, and being open to what could happen in the future.

The whole record was conceived through a meticulous work of juxtaposition and sound collage, which has strongly influenced (and reversed) the band’s compositional practice. This technique fostered an open dialog between the sonic worlds mentioned above, resulting in a broader compositional form, where sonic materials exist even after they occur, like an invisible wire tying all these elements together.

Italian trio She’s Analog is back with another sneak peek of their upcoming album ‘No Longer, Not Yet,’ dropping May 30 via Carton Records and Torto Editions.

Their new single, ‘Narrow Pass,’ pulls you into that weird in-between space where things haven’t fully formed but are already moving. It’s like catching a moment mid-bloom.

The band leans into cut-and-paste sound collage territory on this one, reshaping how they write by layering fragments into something way bigger than the sum of its parts. Think loose threads somehow knotted into something coherent, even if it doesn’t totally want to be.

‘Narrow Pass’ plays with silence, loops and small disturbances. It’s a slow-burn mantra that builds tension before opening up into something looser and more alive. Imagine if Morton Feldman got lost in a field of fuzzed-out lullabies and wandered into a playground.

You can preorder ‘No Longer, Not Yet’ now. It’s one for the headphones and the headspace.

Danse Macabre è il primo singolo estratto da No Longer, Not Yet, il secondo album del trio sperimentale italiano She's Analog in uscita il 30 maggio 2025 per le etichette Carton Records e Torto Editions.

No Longer, Not Yet è un “instant film” che cerca pretenziosamente di fermare il movimento. Il titolo si riferisce a una zona di transito, in cui tutto si dispiega e fiorisce. Questo spazio non è interpretato come esclusivamente musicale; rappresenta invece quello spazio liminare in cui ci muoviamo e creiamo, sia distaccandoci da ciò che ci lasciamo alle spalle, sia aprendoci a ciò che potrebbe accadere in futuro.

L'intero disco è stato concepito attraverso un meticoloso lavoro di giustapposizione e collage sonoro, che ha fortemente influenzato (e invertito) la pratica compositiva della band. Questa tecnica ha favorito un dialogo aperto tra i mondi sonori sopra citati, dando vita a una forma compositiva più ampia, in cui i materiali sonori esistono anche dopo il loro verificarsi, come un filo invisibile che lega tutti questi elementi.

Il singolo Danse Macabre ricorda in qualche modo i Talking Heads del XXI secolo. Un accumulo in costante evoluzione in cui pianoforte e batteria preparati si intrecciano strettamente, mentre armoniche di chitarra e synth da clubbing creano un'atmosfera tesa, trascinando l'ascoltatore in qualcosa che potrebbe essere la colonna sonora perfetta per una festa oscura.

“Danse Macabre” is the first single taken from No Longer, Not Yet, the second album by Italian experimental trio She’s Analog set for release on May 30, 2025 via labels Carton Records and Torto Editions.

No longer, not yet is an “instant film” that pretentiously tries to stop movement. The title refers to a zone of transit, in which everything unfolds and blooms. This space isn’t interpreted as exclusively musical; instead it represents that liminal space in which we move and create, both detaching from what we leave behind, and being open to what could happen in the future.

The whole record was conceived through a meticulous work of juxtaposition and sound collage, which has strongly influenced (and reversed) the band’s compositional practice. This technique fostered an open dialog between the sonic worlds mentioned above, resulting in a broader compositional form, where sonic materials exist even after they occur, like an invisible wire tying all these elements together.

Single “Danse Macabre” sounds like a 21st century Talkin’ heads. A constantly evolving build-up where prepared piano and drums interlock tightly while guitar harmonics and clubbing synths create a tense atmosphere, pulling the listener into something that could be the perfect soundtrack for an obscure party.

No longer, not yet è un “instant film” che cerca pretenziosamente di fermare il movimento. Il titolo si riferisce a una zona di transito, in cui tutto si dispiega e fiorisce. Questo spazio non è interpretato come esclusivamente musicale; rappresenta invece quello spazio liminare in cui ci muoviamo e creiamo, sia distaccandoci da ciò che ci lasciamo alle spalle, sia aprendoci a ciò che potrebbe accadere in futuro.

L’intero disco è stato concepito attraverso un meticoloso lavoro di giustapposizione e collage sonoro, che ha fortemente influenzato (e invertito) la pratica compositiva della band. Questa tecnica ha favorito un dialogo aperto tra i mondi sonori sopra citati, dando vita a una forma compositiva più ampia, in cui i materiali sonori esistono anche dopo il loro verificarsi, come un filo invisibile che lega tutti questi elementi.

Il singolo “Danse Macabre” sembra un Talkin’ heads del XXI secolo. Un accumulo in costante evoluzione in cui pianoforte e batteria preparati si intrecciano strettamente, mentre armoniche di chitarra e synth da clubbing creano un’atmosfera tesa, trascinando l’ascoltatore in qualcosa che potrebbe essere la colonna sonora perfetta per una festa oscura.

Half Asleep est le projet solo de l’auteure-compositrice-interprète bruxelloise Valérie Leclercq. The Minute Hours | Les Heures Secondes est son sixième album à ce jour. Il a été enregistré à la maison avec des amis et a nécessité plus de dix ans de travail. Il sort aujourd’hui sur les labels Humpty Dumpty Records (BE) et three:four (CH).

C’est un album ambitieux, plus vastes que ses prédécesseurs, plus ‘multiple’ dans les chemins qu’il emprunte. On y retrouve toutefois bien l’univers acoustique crépusculaire de la musicienne belge, construit à partir de sa guitare et de son piano, traversé ici par un chœur de voix humaines, des cuivres et anches énervées, les coups d’archet d’un violoncelle texturé, des suggestions de dissonances.

Empruntant à la musique de film, à la musique classique, ainsi qu’à des influences moins directes telles que le post-punk D.I.Y. des années 80, la musique brésilienne, voire même le free jazz, The Minute Hours | Les Heures Secondes cherche les atmosphères fortes. Le disque nous parle de bétail impassible émergeant de la brume, des strates d’histoire intime que contiennent nos salons, et de l’appel des pylônes électriques à la tombée de la nuit.

Les « heures » du titre - hommage aux livres d’heures médiévaux – révèlent la démarche narrative de l’album : celui-ci est une exploration de ce qui, minuscule ou colossal, se joue dans le temps des interstices, le temps intérieur et étrange qui existe entre les évènements.

Esce oggi il primo estratto dal secondo album del trio She’s Analog in arrivo il prossimo 30 maggio via Carton Records e Torto Editions. Ideato e formalizzato attraverso un accurato processo di sound collage, il disco è così descritto nelle note:

“No longer, not yet è un ‘instant film’ che cerca pretenziosamente di fermare il movimento. Il titolo si riferisce a una zona di transito, in cui tutto si dispiega e fiorisce. Questo spazio non è interpretato come esclusivamente musicale; rappresenta invece quello spazio liminare in cui ci muoviamo e creiamo, sia distaccandoci da ciò che ci lasciamo alle spalle, sia aprendoci a ciò che potrebbe accadere in futuro.”

Danse Macabre con il suo incedere teso in crescendomette in mostra la sostanza e le dinamiche del lavoro.

Italian experimental trio She’s Analog return with ‘Danse Macabre,’ a hauntingly vibrant first taste of their new album ‘No Longer, Not Yet,’ out May 30 via Carton Records and Torto Editions.

The track, which unfurls today, arrives like a late-night apparition — twitchy, tense, and entirely hypnotic.

Built on the skeletal interplay between prepared piano and drums, ‘Danse Macabre’ spirals upward with a steady pulse before giving way to slivers of guitar harmonics and synthetic stabs that wouldn’t feel out of place in some subterranean club dreamt up by David Byrne and Arca. There’s something both ancient and futuristic here; a ritual in real time, constantly morphing.

Like the album it introduces, ‘Danse Macabre’ lives in the threshold — what the band calls “a zone of transit,” where sound becomes memory and memory becomes a new form of movement. The entire record was constructed like a collage, each sonic fragment feeding off the last, looping back in phantom echoes. It’s less a collection of tracks than a living document, equal parts improvisation, architecture, and intuition.

For whatever reason, the name “Seb Radix” and the title 1977 had me thinking that this might be a document of some long-lost Belgian punk band—maybe I was thinking of Raxola or someone—but it’s actually the name of a contemporary French singer. Do make note. In any event, the album starts with a twenty-second instrumental that sounds like the intro riff to “Pretty Please Me” by the Quick, then tends to bounce around a bit stylistically, like a home-recorded Jazz Butcher with a punkish edge. M. Radix sings some songs in English and others en Francais—between the stylistic shifts (which, to be clear, aren’t Hootenanny level or anything like that) and the back-and-forth between English/French, I find it a little hard for this record to gain the necessary brain traction to really get into it. I think he’s at his best when he sounds like a mildly punkier Jags (“People”), but on the whole this album struggled to hold my attention despite the fact that I don’t dislike any of it. I do hold out hope that the elusive pulsebeat of this album becomes more apparent with repeated listenings, but for now I think this crepe needs a little more Nutella®.BEST SONG “People.” BEST SONG TITLE: “Mind the Bomb.” FANTASTIC AMAZING TRIVIA FACT: This is the first record I’ve ever seen with a “remerciements” list. –Rev. Nørb (Self-released)

Four majestically crafted and diverse-sounding French pop songs from this eccentric Lyon punk. The two songs on the A Side are both in English and offer up a potent amount of bounce with direct lyrical themes that most every punkperson with a heart can relate to. Side B est dans français and kicks off with some gritty, heavy, Seger-style (Bob, not Pete) rocking, before culminating the EP with a serenading and elegantly executed ballad. As usual from Seb, you get a final product that’s not only rich on creativity, but masterfully carried out. And you gotta respect the brutal honesty in a line like: “I’ve loved a lot of bands, musicians, singers, songwriters. Some that I’ve met, some I’ve met and regret

C’est quoi ce bordel ? C’est quoi ce disque ? C’est quoi ce titre ? Et ces invités ? Andy Kerr (oui oui, celui d’Infamous Scientists ou Nomeansno entre autres), Mike Watt (idem, LE Mike Watt) ou John No (même chose : Triclops ! ou Street Eaters par exemple) ? C’est quoi cette musique ? De prime abord, 1977 entraîne un milliard de questions. Et après de multiples écoutes, il n’apporte aucune réponse.
Il passe systématiquement du coq à l’âne, n’investit aucun pré carré stylistique dans lequel il resterait bloqué, prend un malin plaisir à sonner comme du Bowie ou du Sly & The Family Stone ou du Nino Ferrer ou du Pierre Vassiliu ou n’importe qui d’autre et la liste est bien sûr bien loin d’être exhaustive. Il mélange les langues mais quand il n’est pas chanté en français, c’est un anglophone qui s’occupe du micro. C’est aussi un siffleur professionnel qui s’occupe des sifflements (le frère de Seb Radix, sur Le Chant Des Perdrix). Un batteur qui tient la batterie (et pas des moindres, c’est Oli [Malaïse, Death To Pigs ou Zone infinie] qui secoue les baguettes sur beaucoup de morceaux). Un saxophoniste (Cyril Darmedru de Grand Bario ou Miss Goulash entre autres) pour le saxophone (et le shakuhachi, flûte japonaise d’origine chinoise à cinq trous). Bref, quand Seb n’a pas l’impression de maîtriser ce qu’il joue ou chante, c’est quelqu’un d’autre qui maîtrise mieux que lui qui prend sa place.
Du coup, il s’occupe de la basse et de la guitare et du chant. Et de l’écriture des morceaux.
Et ça, oui, clairement, il maîtrise.

C’est qu’il en faut de la maîtrise pour balancer des solos tels que ceux qu’il balance dans SMS, M&M’s & MST ou Police Milice par exemple. Il en faut également pour multiplier les grands écarts temporels et mettre un pied dans les ’70s tout en sonnant contemporain, pour sonner folk puis funk puis pop puis punk puis expé l’instant d’après ou comme Bobby Conn un peu plus tard (et un peu tout le temps aussi, c’est assez inexplicable). Il en faut encore pour faire rimer « calva » avec « calvitie » (sur Aire d’Autoroute Vide) par exemple, ou expliquer qu’ « on ira se promener/on ira avec la CGT » et que « Tu vas pas perdre un œil/Tu vas pas te noyer » . C’est sans doute très ironique mais murmuré avec une telle conviction qu’on se demande en permanence si tout cela ne serait pas à prendre au premier degré. Bref Seb maîtrise et ce qu’il ne maîtrise pas, ses Rhââ Dicks le maîtrisent pour lui.

Avec tout ça, l’album passe très vite et multiplie les points d’orgue qu’on n’avait pas vus venir : les courts interludes comme Baby Fight et Mind The Bomb (trente-cinq secondes pas plus durant lesquelles Seb Radix rencontre Oli) bataillent avec des morceaux plus longs où Radix Seb change de peau et décrit sa vie par le menu (se grimant même en Sardou sur Voyage par exemple sans paraître ridicule ou agaçant, avec un texte hyper malin et très vrai en sus) et d’autres encore où il explore ses goûts musicaux que l’on sait larges eu égard au pedigree du bonhomme qu’un article multipliant les signes au-delà du raisonnable ne suffirait de toute façon pas à résumer (Ashtray chanté par Mike Watt sonne par exemple comme du Outkast ; La Mémoire Sélective, chanté par lui-même, comme du Heavenly et ainsi de suite).
C’est à la fois iconoclaste et très sérieux, léger et extrêmement maîtrisé, rempli de poil à gratter mais vraiment touchant, toujours hyper bien fait et ça donne plus d’une fois l’impression d’entendre la psyché de Seb Radix ou d’être complètement immergé dans son cerveau. On se sent oiseau avec lui, on se sent guitar hero, on se sent punk, on se sent tout ce qu’il peut se sentir lui-même et on endosse ses divers costumes qui, in fine, le définissent (probablement) complètement.

En plus, tout ça sonne parfaitement et donne l’impression de débarquer d’une faille temporelle qui nous ramènerait aux ’70s en général et à 1977 plus particulièrement (Bruno Germain à la captation qui s’est aussi occupé de programmer quelques patterns de batterie électronique sur quelques morceaux). Il est donc très difficile de rester de marbre devant cette collection de chansons à tomber qui permet à Seb & The Rhââ Dicks d’accéder au statut tant recherché de meilleur groupe solo de tous les temps de l’année 1977 de 2023 et de l’univers tout entier de l’Internationale noise de Lyon.

Membre d'origine de la clique parisienne COAX, Simon HENOCQ est d'abord guitariste dans de nombreux projets d'obédience plutôt jazz. 

Habité par des velléités électroniques et technologiques, il se gargarise de pédales et d'outils capables de trafiquer le son. Il est pris dans le tourbillon électronique. Des années que ça dure visiblement et je ne le découvre que maintenant. Non, c'est vrai, je le connais déjà en groupe par exemple dans ce duo que j'avais beaucoup aimé : le duo HERZ ou dans CLUB SIESTE que j'avais trouvé terrible. Comme tous les amateurs de déviances anarchiques, Simon HENOCQ commence à composer dans son coin, attirés par les ambiances noires, sombres, avec un son au grain particulier, il aime quand les éléments se frottent, se malaxent, se confrontent... Il aime le rugueux, les structures organiques qui s'abiment, la matière comme instrument, l'explosion comme fer de lance, le bruit pour que l'alchimie prenne.
Il faut aussi mentionner l'approche parfois dansante de sa musique, son amour pour le pas de danse dégingandé, pour les rythmiques syncopée qui claquent de traviole à la AUTECHRE, j'ai beaucoup aimé 'fomo' par exemple. Mais il y a aussi le beat qui touche juste, en binaire, celui de la danse des raves, techno quoi, et dans ces moments là on se retrouve autant à Manchester (de AUTECHRE donc...) que dans un Berlin presque batcave.

Simon HENOCQ aime le bruit mais le bruit d'une certaine classe. J'ai autant pensé à EMPTYSET qu'à YELLOW SWANS et bien sûr à AUTECHRE quand ils sont proches de l'industriel. J'ai pu aussi sentir quelques influences à la MIKA VAINIO. 

HENOCQ est radical, sonique, disruptif et c'est bien là tout ce que j'aime dans cette musique noise et électronique.

https://www.cartoncartoncarton.com

https://www.simonhenocq.com

“On ne peut s’empêcher d’être ébloui par la combinaison jaune poussin et les paillettes sur les joues de Fanny Meteier qui, centrale, illumine la scène.” 

“Notamment Marco Luparia, [...] on sait le jeune homme passionné par les rapports entre la percussion et l’électronique dans des soli remarqués où la surface a toute son importance”

C’est d’la Musique Rasoire -mais géniale-, à écouter depuis ta Table Basse jonchée de Records -donc proche-, Coolax comme c’est pas permis. C’est Seb Radix, de Lyon, qui conçoit quatorze titres où lo-fi, énergie punky débraillée, pop de travers et mélodies sensibles se tirent la bourre, sous le joug de guests de renom. On entend par exemple, sur ce 1977, Andy Kerr de Nomeansno, Mike Watt des Minutemen ou encore John No de Triclops. Et encore, je résume. Toujours est-il que Jack Sharp, en 20 sec’ chrono, instaure une trame vive, poppy mais appuyée, qu’on aurait aimé plus longue. Qu’à cela ne tienne, SMS (feat. Andy Kerr) dégaine un fatras noisy/country aux ritournelles aussi soignées qu’écorchées de par leur enrobage. Concluant, et on est encore loin du compte. La Memoire Sélective, chanson in French vaguement yéyé, fait mouche à son tour. Le registre est large, bien serti, instrumentalement ouvert. On s’en réjouit. Baby Fight, riffeur, destroy, balourde une demi-minute en rut. Puis Cactus Fleuri, entre textes bellots et ruades nerveuses, soudaines alors que le reste se veut sage, persuade autant. Il crie, mais reste beau. On est preneur, comme tu le seras.

Voyage, retenu, où les rimes amusent et disent des choses vraies, en remet une lampée. 1977, c’est une valeureuse galette. La fin du titre s’emporte, puis rideau. Alors Ashtray (feat. Mike Watt), stylé et soutenu, dépose une autre perle. A chaque balise, de toute manière, on s’attarde avec un enthousiasme non feint. Le band joue bien, sincère, sans esbrouffe aucune. People (feat. John No), cuivré et acéré, twiste dans le rude. Merveilleux. C’est indé, ami d’écoute. Indé et puis c’est tout et c’est déjà beaucoup. Le Chant Des Perdrix, de plaine, sème fleurs folk et sifflotements légers. Il est, comme les autres, décoré avec panache. Superbe. M&M’s, tirée punk minimale, crédite le Rhodanien. Une fois de plus. Mind The Bomb suit, dans la vigueur itou, en rafales jusqu’à pas même 40 secondes. Et ça suffit.

Dans la foulée Aire D’Autoroute Vide, dénudé, bluesy, brille la vie. Damned, ce 1977 est un sans-fautes! Pince A Linge, en 1’11, y glisse de la lo-fi teintée à la no-wave. A la conclusion échoit Police Milice, où un sifflet tranquillou s’invite. Posée mais expressive, puis plus éraillée, voilà une chanson terminale qui tout en se faisant apprécier, grandement, met fin à une série de haut vol. Une rondelle faite maison, à la Radix évidemment mais avec des convives de premier ordre, porteuse de compositions au potentiel très largement au dessus de la moyenne.

Dear readers, in this article we have the pleasure of offering you an interview with a French power trio that offers Experimental Rock sounds. We welcome Abacaxi.

Hi, it is a real pleasure to have you among our pages, how are you?

“Ciao Progressive Rock Journal,
We are pretty good, thank you! We feel like a pineapple who wants to release his sugar!“

You are a power trio called Abacaxi, how did the project and the choice of your name come about?

“Abacaxi is coming from a Brazilian expression. Abacaxi means pineapple in Portuguese from Brazil. Brazilians use to say «oh, tem um abacaxi» which means litterally, «there is pineapple.» But the expression means : everything start very well but something went wrong the way ! And it resumes perfectly the music of Abacaxi.“

Proposing Experimental Rock sounds, how did your passion for these sounds come about?

“After few and long trip in Brazil, Julien Desprez got a lot of influence from the brazilian music. Maybe not that much in terms of aesthetic but more about this music is very open in termes of rhythmics and the very large soundscape of it.
It gave him the idea to creat this power trio Abacaxi where he decided to mix type of sounds we don’t that much together. Like Noise and Funk or Reggaeton and experimental music.“

Your new album ‘Quetzal’ was released on October 2024, how would you describe this work?

“Quetzal is a very small bird from central america. Full of different flashy colors, it represents pretty well the big diversity of sounds you can hear through the album. It gives also a small taste of jungle as this bird leaves inside it.“

A long 7-part suite plus two other tracks make up the album, what themes does the music deal with?

“The music is dealing with colors. By putting different type of layers, like noise layers/rhythmical layers/harmonic layers, we create a color palette that we use to built the music. So the process is very close to paint! Then the taste of the music depends of which layer we put in the front!“

Entirely instrumental, intense and elaborate, how does the creative process of your music take place?

“Basically, Julien Desprez brings to the band an idea of composition. Those different layer we were speaking about before are already set. Then the band research how we can play them together. But then, it pushes the musicians, particularly the guitar player (Julien Desprez) and the bass player (Jean François Riffaud) to think them instrument in a new way. It means we dont’t think the effect pedals like just effect. We see it more like realinstrument, so it creates a new of playing by separate the action from the feet (who plays the pedals) and the action from the hands on the guitars. At the end, the way of playing for them is closer to a drummer skills than a guitar player ones.“

This is your third record release, how has your sound evolved over time?

“This is our second album! The first one, Mainstream Desire, was released on Carton Record, only digital, in march 2021. Between the both album, the sound evolution went from more classic free-rock to what we do today : a mix of different aesthetic played in the same time. So a music who contains different spaces. Like party feeling who meets riot feelings.“

Many of our readers and your fans wonder if there will be a chance to hear your music live, do you have plans in this regard for the near future?

“Yes, different tours are planned in Europe at the end of the year. 2025 is a bit more quiet but the next one will be the 14th May at la Bellevilloise in Paris for the release of a live album on B-Records!“

Music is constantly evolving, especially experimental music, how do you see the modern scene in your genre?

“Which is good in experimental music it’s that the boundaries of this aesthetic is alway very blurry! So it creates a space where genre, style, aesthetic can meet others in a non mainstream way and we love that! It also opens to more performative art practice which we also feel close to.“

What advice would you give to young artists approaching music with more sophisticated sounds like yours?

“Just go for what you hear! Trust what you feel and what you hear inside you. Be confident with yourself, be passionated by what you do. But develop also the capacity of patience, humility and caring.“

Do you have any other activities or artistic passions outside music?

“Food, philosophy, running and politic. Politic is not really something we are passioned
by it just something necessary today.
Then we are food lovers!!!“

I thank the band for the interview and wish them all the best for the continuation of their artistic career.

“Thanks to guy guys! We wish you the best as well.“

RZWD – Gaps (Carton Records) – On Gaps, RZWD tell us they aimed to “craft dance noise club music on their own terms, pushing the limits of what a live band can be in achieving this”, they go on to tell us that “the core idea behind Gaps was to use developed themes as a starting point for further variations and exploration within Dance noise club music. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation” – scrub all that though, this sounds far more instictive than they make it sound, if this is dance music then the dancing is going to be wildly all over the place and well, if you like dance music by all means tune in and dance like a maniac, more importantly, if you don’t like dance music then definitely tune in! This is for everyone, this is other rock, this is pointy, this is sharp, this is delightfully fractured, warm, inviting, this is fluid in an awkwardly good way. It is mostly electonic, it feels very organic, analogue in terms of texture and yes that might be one of several contradictions just made but who cares, bottom line here is this is really really good – mutating layers of modulation indeed, played beyond rigid tempo measurements. Recorded live as a live band, that bit is crucial to what is going on here, recorded in 2023, released in the Autumn of 2024 and sent to us in the second week of 2025, it might have figured somewhere on that (rest of the) best albums of ’24 if it had landed here in time…

“je me souviens d’une nouvelle lovecraft assez folle où un personnage génère des sons totalement inhumains juste avec une guitare acoustique. Ça m’a beaucoup inspiré à l’époque”

Pour le troisième épisode de leur résidence sur nos ondes, Hatch Asso donnent la parole à Somaticae, musicien électronique explorant techno, idm et noise au sein d’atmosphères saturées et frénétiques.