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    “The world got shook”

    So Algiers formed a crew. The band - who have built one of the most exciting catalogs and cult followings of recent years - gathered a posse of like-minded artists to create their fourth album, Shook. Stacked with guests spanning icons through to future stars, Shook is a lightning rod for an elusive yet universal energy and feeling. A plurality of voices; a spiritual and geographical homecoming; a strategy of communion in a burning world; the story of an end of a relationship; an Atlanta front porch summer party. Ultimately, it's a 17-track set of the most mind-expanding and thrilling music that you are likely to hear anytime soon.

    Algiers have always been unflinching, but Shook is at the same time notably joyous and celebratory. It was born when Fisher and Mahan found themselves back in their native Atlanta for several months, reeling from growing pressures and burnout as touring musicians. This triggered an intense period of beatmaking, reconnecting as friends over hours immersed in episodes of Rhythm Roulette and Against the Clock and descending deep into alt-rap YouTube rabbit holes. A revisit of DJ Grand Wizard Theodore’s 1970s punk-infused New York City rap masterpiece ‘Subway Theme’ served as a spiritual moodboard for the album’s cross-pollination of urban and counter-culture styles. Across the seamlessly flowing set, including spoken vignettes and ambient instrumental segues, the band pay respect to a sprawling lineage of rap and punk iconoclasts from DJ Premier, DJ Screw and Dead Boys to Lukah, Griselda and Dïat – chopping and screwing beats on a dusty SP-404 and a Sequential Circuits Tempest, building imagined sample libraries from scratch.

    The accomplishment of this record is made all the more impressive by the fact it was made by a band who were falling apart and on the verge of breaking up. But instead they have produced an extraordinary, transformative record born from a shared sense of place and experience.


    Barry says: Part electronic industrial, part post-punk. Algiers have always managed to dodge genre constraints, with an off-kilter angular groove and uncompromiosing electronic intensity. It's impressive then that their diverse range of guests only serves to further widen the boundaries of their sound.


    1. Everybody Shatter (ft. Big Rube)
    2. Irreversible Damage
    3. 73%
    4. Cleanse Your Guilt Here
    5. As It Resounds (ft. Big Rube)
    6. Bite Back (ft. Billy Woods & Backxwash)
    7. Out Of Style Tragedy (ft. Mark Cisneros)
    8. Comment #2
    9. A Good Man
    10. I Can’t Stand It! (ft. Samuel T. Herring & Jae Matthews)
    11. All You See Is
    12. Green Iris
    13. Born (ft. LaToya Kent)
    14. Cold World (ft. Nadah El Shazly)
    15. Something Wrong
    16. An Echophonic Soul (ft. DeForrest Brown Jr. & Patrick Shiroishi)
    17. Momentary (ft. Lee Bains III)

    Algiers return in 2020 with their third album 'There Is No Year', which will be released January 17th on Matador Records. 'There is No Year' solidifies and expands upon the doom-laden soul of their foundation, toward an even more epic, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by guitarist Lee Tesche. 


    Barry says: Shouty melancholic rockers Algiers bring us all the feels on their newest outing, 'There Is No Year'. Clearly influenced by the torrid political climes, this rousing and hearty romp is as meaningful as is effecting, a brilliantly written call to arms.


    There Is No Year
    Hour Of The Furnaces
    Losing Is Ours
    Wait For The Sound
    Repeating Night
    We Can’t Be Found

    Abdel Hadi Halo & The El Gusto Orchestra Of Algiers

    Abdel Hadi Halo & The El Gusto Orchestra Of Algiers

      Chaabi has its roots in the Andalusian music of Moorish Spain, spreading to North Africa with exiled Jewish and Moorish communities; but it really took off in the music schools, parties and bars of occupied, post-WWII Algiers, where its Andalusian, Middle Eastern and North African lineage infused with the Mediterranean soundtrack of that era — chanson, jazz, snatches of tango and a little boogie-woogie. "Abdel Hadi Halo And The El Gusto Orchestra Of Algiers" was recorded on the tilting fifth floor of the Conservatoire d'Algiers, in a room overlooking the sea on one side, and the Casbah on the other: the orchestra was recorded 'live' in full flight — all together, in continuous takes. For our recording, the Orchestra included four singers — joined in chorus by the voices of the entire orchestra — and five-man banjo, percussion and violin sections. The scale and organization are thrilling; the music is swirling and improvisatory, surging from the haunted to the bluesy, the devotional to the knees-up.

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