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Sam Amidon

"The Following Mountain"

The Bats

"The Deep Set"

Borja Flames

"Nacer Blanco"

André Brasseur

"Lost Gems From The 70's"

René Costy


The Feelies

"In Between"

Greenberger Jones Corsano

"An Idea In Everything"


"The Drain"


"Sciences Politiques"

Hailu Mergia & Dahlak Band

"Wede Harer Guzo"

Mdou Moctar


Moon Duo

"Occult Architecture Vol. 1 & 2"

Thurston Moore

"Rock N Roll Consciousness"

Janko Nilovic

"Chorus" & "Funky Tramway" & "Pop Impressions"

Orso Jesenska

"Effacer la mer" & "Les variations d'ombre"

Piano Magic


Benoît Pioulard

"The Benoît Pioulard Listening Matter"

Fatou Seidi Ghali & Alamnou Akrouni

"Les Filles de Illighadad"

Sleaford Mods

"English Tapas"

Sun Ra

"The Magic City" & "Other Planes Of There"



Various Artists

"The Hired Hands - A Tribute To Bruce Langhorne"

Various Artists

"Funky Chimes - Belgian Grooves From The 70's - Part 1 & 2"

Richard Youngs

"Inside The Future" & "The Rest Is Scenery"


Greg Weeks - Five digressions

Greg Weeks

"Five digressions"

We've immmediately loved Greg Weeks's first albums, with his Nick Drake kind of guitar picking and voice (and it really is a compliment). Since then, Greg has stepped on another track, adding more psychedelic elements to his folk music. His beautiful voice and songwriting are still as wonderful as ever.

These are the five words that Greg Weeks picked:

Oh boy, that melancholic shift from clear view to scrim of unknowning is just so sad and wonderful and fulfilling. It seeps profoundly into my world view, like a 70's movie broadcast during the 80's - pan and scan - on VHF television. Something about dusk is shot through with an undeniably optimistic tension.

Spining wheels is useless. Every step must be towards betterment or change. It's not about new territory in general, but what's new to you. Best to stop altogether than to stand in place, marching.

I don't deny its influence on me. My perception is continually warped by intrinsic responses toward skin and its tenderest parts. My own flesh is in revolt, so I spend much time fantazing about and imagining the flesh of others. It's not a bad thing.

Catherine Ribeiro's fashettos at the end of "Paix". Exaltation is godliness, and positivism, and power. It is flesh made good. It is pure. Every step I take musically is in its direction. Why shoot low?

Sometimes I just don't understand how all this is supposed to work.

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