This Friday, February 20, you can also find in stores the records by Altin Gün and Nathan Fake.
Altin Gün Garip (Glitterbeat/Modulor)
The Amsterdam-based quintet pays homage to the legend Neşet Ertaş in ten delicious reinventions, where Turkish folk traditions meet the psychedelic rock of the sixties. On Garip, their sixth entrancing album, Altin Gün, now a quintet since the departure of Merve Daşdemir who shared the mic with Erdinç Eçevit Yıldız, reimagines the songs of the bard and saz virtuoso Neşet Ertaş, a legend in his homeland.
By Alexis Hache, read the review of Garip
Apparat A Hum of Maybe (Mute/PIAS)
Sascha Ring delivers nuanced songs that are sometimes ready to take over misty dancefloors. Despite the success of Moderat, Sascha Ring has always shown signs of independence from his collaboration with Modeselektor. With, at times, a notable success. While LP5, Apparat’s latest recording, was among the Grammy nominations in 2019, its track Goodbye has now racked up nearly 90 million streams. A question then arises: can this sixth album draw on fresh ideas?
By Maxime Delcourt, read the review of A Hum of Maybe
Blu Samu (K)not (Animal63/Believe)
Fueling her flow with post-punk, drum’n’bass, and fado, this Belgian rapper delivers (K)not, a first album that is blended and introspective. After a decade on the Belgian scene and a handful of EPs (including Moka, ctrl-alt-del and 7), this rapper closely associated with the Brussels collective 77 has forged a distinct English-language voice, shaped by her childhood in Antwerp amid punk and electronic nights that weren’t exactly pristine, as well as the fado she discovered during a stay in Portugal, where her family hails from.
By Sophie Rosemont, read the review of (K)not
Nathan Fake Evaporator (InFiné/Bigwax)
Carrying a dreamy, uplifting yet uneasy electronic sound, the Norfolk pioneer chooses to dance in broad daylight with total ease. Since Drowning in a Sea of Love (2006), the evocatively titled debut powered by The Sky Was Pink, Nathan Fake has consistently imposed his airy, textured style, with fractured rhythms and progressively evolving melodies on the dancefloor, creating a collision between shoegaze and German minimalism.
By Patrick Thévenin, read the review of Evaporator
Peaches No Lube So Rude (Kill Rock Stars/Bertus)
Against the frustrations of arousal and an era that is increasingly uptight, the Canadian continues to ground her blunt words in a polished electroclash. Eleven years after Rub (2009), it was time for this all-rounder—filmmaker, performer, visual artist—to pick things up where she left them, in a messy jumble from which melodies inevitably rise, unswayed by the passage of time.
By Maxime Delcourt, read the review of No Lube So Rude
