Bild- und Textquelle: Greyzone Concerts

A psych groove instrumental trio you want to take home to meet your girlfriend’s dad. Treat yourself to a Goblyn-guided journey through time and space with this Berlin/Amsterdam based marvel. While still all residing in the sleepy Eastern Cape of South Africa, Goblyns was a fever dream for the youngsters, only coming to life years later after Frank followed Liam and Gio to Europe. The new distance was nothing now compared to the drive to finally make music together, and after the first meet up they knew this was special.

Written over various “Goblyn weekends” during the next few months post “This is Spaghettification” and drawing influence from a wide-world of music, a clear vision came to the boys of where they were going to land this project. Drawing influence from a wide-world of music includingKikagaku Moyo, The Meters, Khruangbin and CAN, the fellas are always sharing new sounds and ideas. The excitement never dims and this shines through in their upcoming debut full length “Hunki Bobo”, hot on the of the success of last year’s EP. Now brimming with confidence and pride, the band has curated an ambitious selection of heated tracks to make up this iconic record. 

The 8-track album was recorded over a five day studio binge in sweltering July, under the skilled direction of Andre Leo, known for his work with Medicine Boy and Wombed. The sessions took place at Junxt Berlin, where the unique atmosphere undoubtedly contributed to the album's distinct sound. The artistic vision behind the album cover came to life through the creative prowess of Julia Schimautz, who meticulously designed all the captivating artwork.

From the first single, Sakura, the hypnotic groove and maturity is undeniable. The whole journey is packed with a tight, powerful energy and delicious dynamics. Sakura flows directly into “Bobo” which feels a trademark of the Goblyns sound. A distortion-driven verse bashing you about only to be caught by its liquid chorus which exudes indisputable groove. Other stand-out tracks include *Muti”, a hip-shaker with a strong nod to zamrock’s raw fuzz guitars, and “Electric Shadow”, a Goblyn gift of gritty krautrock hypnosis encapsulated by a beautifully harmonious intro and outtro that brings the listener full circle.

Scheduled for release in May 2024 under the banner of Crazysane Records, "Hunki Bobo" promises to be a landmark album, solidifying Goblyns' position as a force to be reckoned with in the contemporary music scene. Prepare to be enraptured by a musical experience that transcends boundaries and leaves an indelible mark on your soul.

Keshavara sport splendid moustaches, wear bold headpieces and speak an adventurous patois of English, Hindi, German and Gibberish. On their new album "III", the Cologne-based outfit led by German-Indian musician Keshav Purushotham creates music in a way other people mix their cocktails after they've already enjoyed three drinks: Washed-out kraut-pop and diasporic dub-not-dub excursions are roughly measured out and then shaken wildly. Sweet and mesmerizing melodies, borrowed from a fantastic no man's land in the border region between exotic library compositions and psychedelic soundtracks, merged with the grooves of a rhythm section that would have felt right at home in the recording studios of mid-seventies’ funky Beirut. The outcome is a seductively colourful cocktail with the dazzling effect of hallucinogenic Jell-O, topped with a surrealist sugar rim. Music that shimmers and flickers like a mirage in the desert. One moment Keshavara sound like an Ennio Morricone soundtrack for a Bollywood movie, and the next like a Curt Boettcher-produced Eden Ahbez song. Or – not quite as far-fetched but no less fanciful – as if Khruangbin and Sven Wunder had finally recorded an album together. In the brightest, shining moments everything just falls into place as if by magic, culminating in songs like “Der Spiegelmann" and "Tableau Vivant" - phantasmagoric parties full of transcultural clashes - perfectly suited for flamboyant group choreographies. While Keshavara's debut was a solo album and its follow-up "Kabinett der Phantasie" essentially a duo’s work, with their self-produced third album, simply titled "III", Keshav Purushotham, Niklas Schneider, Benedikt Filleböck and Christopher Martin have finally grown together into a four-piece band ... and all based around an antique Farfisa organ that just turned up in the studio as a gift. A strange artifact from a time of slow jams, studio live takes and an excessive use of space echo that somehow found its way into all of the songs. The organ’s analogue bubbling and wafting funk rolls out the red carpet for Keshavara’s warm and organic sound and gives it a gentle nudge towards the 70s. Refreshingly though, it never quite gets there but manages to always keep going. That’s because the reward for travelling through the reverb-soaked corridors of this album’s artfully crafted labyrinth of sound is always the journey itself. And on this trip time and space have no fixed point, but holds interchangeable coordinates in a game of musical chairs. So it is only logical to sing about “Indische Götter im Sauerland” (Indian gods in Sauerland). Thanks to this playful humour the album never falls prey to sentimentality, although nostalgia wafts through all ten songs like a warm Mediterranean breeze. The ethereal drones, gently mumbling chords and ghostly, sighing chimes that keyboardist Benedikt Filleböck coaxes from his frail Farfisa particularly in the quieter parts and instrumental numbers, create an atmospheric contrast to the other pillars of the Keshavara sound: Christopher Martin's nimbly bouncing bass triangles and Keshav's sun-drenched guitar ornaments. Together with Niklas Schneider's crisp drum beats they build a foundation with which the kaleidoscopic textures and melodies merge completely, resulting in the band’s most homogenous album to date. With "III", Keshavara prove themselves to be shrewd sound alchemists and accomplished travellers between worlds, a soft power whose strength is fed by the band’s members’ enormous musicality, their love of storytelling and their surrealistic wi