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The Anarcho Surf Laboratory Co. by The Chemist & the Acevities, released 01 June 2013 1. Shoot down los keketeros 2. Cosmic anarchist wave 3. C6H14 4. Melinite is fun when it blows up a police station 5. Fluorine 6. Crocuta crocuta 7. Liquid cavern 8. Psychiatry inside out 9. Let's disolve all the bankers 10. Love in a cestodian mood Debut album Vinyl +CD release in spring 2013. (500 copies) Only few albums left in Maloka Distro

REGENERACION by Generacion Suicida, released 14 May 2022 1. FUEGO 2. NACIDOS 3. TODO ES UN SUEÑO 4. BALAS, SIEMPRE BALAS 5. IDENTIDAD 6. JAULAS 7. DIA TRAS DIA 8. DIME DONDE ESTA 9. ILUSION 10. VIOLENCIA 11. ME ESTAN BUSCANDO

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Congo Funk! - Sound Madness From The Shores Of The Mighty Congo River (Kinshasa/Brazzaville 1969-1982) (Analog Africa No. 38) by Analog Africa, released 05 April 2024 1. Petelo Vicka et Son Nzazi - Sungu Lubuka 2. Groupe Minzoto Ya Zaïre - Mfuur Ma 3. M.B.T's - M.B.T's Sound 4. Abeti et les Redoutables - Musique Tshiluba 5. Trio Bydoli - Lalia 6. Tabu Ley et L'Orchestre Afrisa - Adeito 7. Les Bantous De La Capitale - Ngantsie Soul 8. Les Frères Soki et L'Orchestre Bella-Bella - Nganga 9. Orchestre Celi Bitshou - Tembe Na Tembe Ya Nini 10. Lolo et L'Orchestre O.K. Jazz - Lolo Soulfire 11. Zaiko Langa Langa - Femme Ne Pleure Pas 12. Orchestre O.K. Jazz - Kiwita Kumunani 13. G.O. Malebo - Fiancée Laya 14. Orchestre National Du Congo - Ah! Congo The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River. On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves. But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument! Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo. Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited. Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition. These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight. The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening. Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

Up On Gravity Hill by METZ, released 12 April 2024 1. No Reservation / Love Comes Crashing 2. Glass Eye 3. Entwined (Street Light Buzz) 4. 99 5. Superior Mirage 6. Wound Tight 7. Never Still Again 8. Light Your Way Home With time, we come to understand the way the joy of connection is mirrored by the void of loss, how the constancy of love is matched only by the impermanence of life, the simple idea that we could not create light if we did not risk the dark—we’d never need to. So it is with METZ, a band once known for blowing out eardrums with songs of joyous rage who have, over their past few records, begun exploring ways to turn abrasiveness into atmospherics, the evolution of their sound not only a reflection of the maturing of the band themselves but also of a changed world that demands nuance and compassion to comprehend and to survive. It was a journey already underway on 2020’s Atlas Vending, but one that reaches new heights on Up On Gravity Hill, where the Canadian trio creates a kaleidoscopic sonic world as tender as it is dark, aided once again by engineer Seth Manchester (Mdou Moctar, Lingua Ignota, Battles, The Body). Deep, detailed, and unyieldingly personal, it is not only METZ’s most powerful record to date but also their most beautiful. Still three punks from Ontario at heart, guitarist and vocalist Alex Edkins, drummer Hayden Menzies, and bassist Chris Slorach waste no time as opener “No Reservation/Love Comes Crashing” sweeps in like a wave, sonically and thematically setting the scene for the record to come. A dynamic song about feeling suspended in stasis, layers of dissonance melt into a restlessly heady outro marked by escalating crescendos of shimmering noise that reach for the stars—and is that a violin quivering brightly beneath those elegant swells of guitar, those charging drum fills, those intricate bass lines? It is indeed, courtesy of composer Owen Pallett; his presence an immediate indicator that METZ are thinking more cinematically than ever before. The change is partially inspired by Edkins’ work as a scorer for film and television and his pop-leaning solo project, Weird Nightmare, where, he says, he learned to write more intuitively, letting his emotions lead the way. “The lyrical content is more heart-on-sleeve than I've ever allowed myself to do,” he says. “I tried to be direct with my words, this record felt like a big step.” But make no mistake: Up On Gravity Hill is a total band effort, the work of three musicians who have been playing together for over a decade, with all the trust that entails. “We’re at the point now where we feel really strong as a band and as musicians, and there is no second guessing our collective instincts. Allowing ourselves to branch out and work with other musicians has been a blessing and also continues to remind us that what we have, our musical bond, is very rare and really special.” says Edkins. For those who believe in the power of the rock band to exemplify the highest resonance of human connection, there is much on Up On Gravity Hill to lift the spirit, a puzzle worth repeated listening to unlock or just to get lost in again and again. Rather than the music being flattened into a single plane, the band explores “the space above the cymbals,” resulting in some of the most spacious, sympathetic, and accessible songs—could we call them pop?—of their career. If this seems contradictory, well, METZ has always been something of a contradiction. “We’ve never been heavy enough for metal or hardcore purists, but we're way too heavy for indie rock. We just don't have a lane—and that's okay. We exist outside the lines of delineation. I think this record is even more like that,” says Edkins. Lyrically, Up On Gravity Hill pulls no punches: this is a record about death the way all art is ultimately about death, yet it crackles with life and intensity. “Entwined” is a charging throwback to the cerebral Dischord punk bands the trio grew up loving; the snarling “99” takes on the nonstop onslaught of advertising that marks our modern lives; “We are all just a dream,” sings Edkins on “Superior Mirage,” Menzies’ charged drumming and flickering hi-hats a contrast to the song’s ghostly themes of impermanence. The record peaks on the gorgeous closer “Light Your Way Home,” which features vocal contributions from Amber Webber of Black Mountain. Here, Edkins confronts the choices that keep him from the people he loves, their absence only emphasizing how much they matter. “If only I could see what isn’t shown/ I’d clear a path for you,” he sings, a deeply emotional confession for a band that has found a new way to bend the raw power of rock music to its most delicate, intricate ends.

De acordo com a diretiva, a região russa garante agora que as criações musicais e de dança chechenas se alinhem com a mentalidade chechena.

This history of 3M's tape technology covers Scotch Tape, Scotch 111 reel-to-reel tape and floppy disks, as well as why the high-profile creator of magnetic media gave up on floppies nearly three decades ago.

For Bernard Stiegler, a visionary philosopher of our digital age, technics is the defining feature of human experience

Strudel is a music live coding environment for the browser, porting the TidalCycles pattern language to JavaScript.

It seems like Roald Dahl may have been onto something after all: if you hurt a plant, it screams.

The little server that connects your website to the independent web.

Examining 30 years of Rolling Stone’s “Greatest Albums of All Time” Rankings

Reggaeton Be Gone, a machine invented by Argentine citizen Roni Bandini, blocks Bluetooth speakers whenever they play songs from one of the most popular music genres in the world

Different languages frame time differently. Read on.

Documentos inéditos revelam que junta militar chilena visitou Instituto Butantan em segredo com oficiais do regime brasileiro

Opposing technology isn’t antithetical to progress.

The first challenge might be a surprising one. It is not a technical problem, or a legal problem. It is a psychological problem.