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Ima ایما
by Tegh & Adel Poursamadi
supported by 5 fans who also own “Fāžeh | فاژه”
Rarely does experimentation merge so seamlessly the analog with the digital. Tegh's textures at times clash and at times befriend Poursamadi's strings, creating a landscape as fragmented as the present, as nostalgic as the past, and as unitary as the future. The two musicians dialogue for a nexus without finding a resolution, but as they say, the journey is certainly more pivotal than the destination.
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A Trail of Laughters
by Siavash Amini
supported by 5 fans who also own “Fāžeh | فاژه”
I have loved Siavish Amini for a few years now and this album takes his art into utterly unpredictable and beautiful directions. Also if Rutger Zuydervelt (Machinefabriek) likes it then that's the only stamp of approval necessary. I have a sincere question for Mr Amini which is not intended to insult anyone's faith or deepen our stupid-enough divisions but if I were to ask an Iranian mullah "How can instrumental music possibly be an affront to Allah ?" how would he reply ?
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no place that feels like
by Ellis
Another devastatingly beautiful batch of indie rock confessionals from Ontario singer, producer, and multi-instrumentalist Linnea Siggelkow.
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The experimental rock band's new record is as melodic and inventive as ever, but now with an even more honed sense of play.
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Ross J. Farrar of Ceremony creates dubby outside punk evoking the minimalism of Young Marble Giants on his second solo record.
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supported by 5 fans who also own “Fāžeh | فاژه”
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