‘Mixtape vol. I’ is an instrumental beat collection that outlines a new chapter in Trrmà’s creative process. Giovanni Todisco (drums) e Giuseppe Candiano (electronics) made a trip down their memory lanes and created something new which is a direct expression of their musical roots.
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‘Mixtape vol. I’ blends together hip-hop attitude, Detroit techno synthesis, and what we call ‘hyperjazz’. The result of this mix is something not obvious or permanent, and it engages perfectly the Hyperjazz’s intentions to define a new way of conceiving rhythmic music in our century. Inspired by the most refined beat-making scene, this work is distinguished by special live drums processing mixed with electronic beats, detuned vocal samples, classic synth, and cosmic sounds.
VOL2
Adventurous sounds with electro-acoustics abstract, uplifting jazz grooves, and wonky electronic vibes: Trrmà are back! Following the first work released by Hyperjazz in 2021, Mixtape Vol. II is an explosive hybrid of experimental hip-hop and avant-garde electronic sounds.
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Influenced by the most refined beat-making culture, they propose – from a “live band perspective” – their personal juicy sonic sauce and their ultimate feeling of freedom. Groovy instrumentals, heavy bass-tinged tracks, subtly swung beats, weird riffs, and rowdy samples. Trrmà manipulates a dynamic range of sounds into their distinctive design that borders on psychedelic and blends with electronic synthesis. This is definitely something worth checking out if you like to explore innovative soundscapes and blow your own mind with futuristic sights.
Notturni immerses listeners in nocturnal atmospheres—mysterious, romantic, and decadent—from dusk till dawn. Inspired by Chopin’s Nocturnes, Céline’s Journey to the End of the Night, and cinematic moods from Taxi Driver to A Clockwork Orange, this album is a sonic voyage through solitude, love, and rebirth.
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Blending jazz, electronica, psychedelia, and Eastern influences, the music layers acoustic drums with drum machines, textured pianos with synths, and wind sections with metallic dissonances. It’s a fusion of past and present, dream and reality—cinematic, floating, and deeply evocative.
This is a record enriched by my musical influences, from Duke Ellington to David Axelrod, from Bernard Hermann to Pink Floyd. Jazz, electronica, psychedelia and oriental influences accompany us along the winding streets of the night and the unconscious.
A layered, dense and simultaneously evanescent and nebulous sound with composite rhythms blending acoustic drums and drum machines, textural pianos and synthesizers, with melodies projected by wind sections and metallic dissonances that jostle with each other in the dark evening.
A farrago of acoustic instruments and electronic effects and machines, the past and the present, the dreamt and the real, the deep shadows and the moonlight, the unbridled fantasy and the compulsive search for reality.
This is floating, cinematic music full of modern echoes yet anchored to tradition, a bold attempt to make the dream come true and transpose it into sound.
Taken from the acclaimed track “Echoes of Africa”—the standout and most requested piece from the album People All Around The World, Can Make It—this song delivers a powerful message of hope and resilience.
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Infused with a vibrant blend of Afrobeat and funk, its pulsating rhythms and energetic choral refrains channel the spirit of legendary American funk bands of the 1970s. It’s more than a song—it’s an anthem that stirs both body and soul, urging listeners not to give up.
With its hypnotic groove and voices rich in collective wisdom, the track speaks to people of all ages, across every corner of the globe, who face daily challenges—whether large or small. It gently reminds us that even the smallest shift in perspective can spark meaningful change.
After years of silence following the release of their self-titled debut album in 2006, Luciano Cantone — co-founder of Schema Records — returns to the scene with a new project.
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At his side is longtime friend and multi-instrumentalist Gianluca Petrella, along with a renewed ensemble, to present Echoes of Africa, the second musical chapter, released on the newly founded label Space Echo. As the title suggests, the album stems from a deep and passionate immersion into African music.
The recordings are enriched by the impeccable rhythmic touch of Ethiopian drummer and percussionist Abdissa “Manba” Assefa, the spiritual elegance of Gambian kora player Haruna “Jalimansa” Kuyateh, and the intense voice of Finnish-based African-American vocalist Bentality. Their influences deeply inspired the Western musicians involved in the project.
The foundation lies in Afrobeat: the music of Africa 70 and the unmistakable drumming of Tony Allen form the rhythmic backbone upon which melodies based on pentatonic scales are built, evoking sounds that stretch as far as the Middle East and Asia.
Though traversing a wide array of genres and inspirations — from funk to afrobeat, psychedelia to modal jazz and ethio-jazz — “Echoes of Africa” remains an accessible and enjoyable work, deeply rooted in pop sensibility. It’s a cinematic musical experience, rich with ancestral echoes, inviting the listener on an immersive and liberating sonic journey.
“Journey To The East” was born thanks to the music of vibraphonist Mulatu Astatke and an in-depth educational study of Ethiopian music. The composition is built around a melody using the Major Batti Lydian scale. Its pentatonic nature, enhanced by unique intervals, creates a soundscape with hints of Middle Eastern influence.
Ethiopia continues to serve as a source of inspiration in “Entoto” and “Breathe the Rhythm”, two original pieces composed entirely by trombonist and multi-instrumentalist Gianluca Petrella, which add new layers of cultural richness and sonic depth to the project.
At first glance, Hearing The Call might seem like a response to the tragic events of May 25, 2020, in Minneapolis. In reality, the piece was conceived back in 2018, inspired by the poem Children by Haki R. Madhubuti, featured on the album “Medasi” – Nation.
Themes of oppression and the ongoing fight for human rights had long been present in the mind of the producer, emerging here with a renewed sense of urgency and relevance.
The track offers a powerful reflection on racism, homophobia, and the political systems that continue to deny fundamental rights.
The voice of young African-American/Finnish artist Benjamin “Bentality” Paavilainen — who both wrote and performed the poem — flows naturally over a modal musical bed, choosing immersive sonic textures over traditional jazz improvisation.
Mystical sound effects and entrancing percussion accompany and captivate the listener, while the text addresses Black men and women, asking a critical question: have we been forgotten as a nation?
The poet reflects on the strength, brutality, and marginalization of the Black nation, invoking the powerful imagery of “Strange Fruit“, the iconic song immortalized by Billie Holiday. “We are strong, we are here,” the poem declares, advancing through the voices of its enemies with determination and resolve. It is a statement of resilience, dignity, and identity — resonating as deeply in the music as it does in the words.
The Invisible Session had already explored environmental themes as early as their debut release. Their 2005 album on Schema Records features “To the Powerful”, a kind of prayer built on a hypnotic Afro-jazz groove, directed at the world’s leaders. It is a heartfelt appeal to protect Mother Earth, underlining that without the proper balance of her elements, life itself would no longer be possible.
In tune with today’s environmental movements and the growing sense of urgency, tracks like “Ideas, Can Make the World” and “People All Around the World, Can Make It” continue this path of awareness. With their vibrant Afrobeat/Funk rhythm, these pieces present themselves as brief, powerful anthems — true collective mantras in the spirit of 1970s American funk bands.
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The message is clear: a small change is all it takes to shift direction and counteract the damaging effects of globalization. “We can make it!” they chant, with energy and hope.
A more meditative reflection on the climate crisis can be found in “Mother Forgive Us”, once again written and performed by the inspired Bentality. Here, a prayer emerges through a slow-tempo musical flow built on a hypnotic funk riff.
The recurring mantra “Mother Earth, forgive us” resonates like a conscious lament — a reminder that we have yet to fully understand the value of what has been entrusted to us.
Kidd Mojo makes his debut on Hyperjazz Records including on his Ep a great featuring by the Grammy nominated artist Georgia Anne Muldrow!
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Over 2500 years ago in Athens, the Dionysia was a large festival in honor of the god Dionysus.
It was the second-most important festivity in the city-state, and probably the best symbol of the cosmopolitism and modernity of the ancient Greek culture and society. It was an extraordinary event involving the whole population (even the inmates were temporary free) in order to integrate marginalised people and consolidate social cohesion.
The Dionysia was also an essential part of the Dionysian Mysteries, an esoteric and mystic ritual – whose origins are lost in time – which used trance-inducing techniques (like dance and music) to remove inhibitions and social constraints, allowing the individual to return to a natural state.
Passionate about beatmaking, punk, and Greek mythology, using his Mpc2000 like a stargate, Kidd Mojo tries to lead the ‘Dionysia’’s listeners into a very personal noisy journey through vintage sampling techniques, hip-hop beats, futuristic synths melted with hints of Afrobeat and jazz.
An imaginary world, shaped by a modern ritual that encompasses past, present, and future and helps people reach their inner self through sound.
‘The Word Was Made Phresh’ is the name of Phresoul’s new album, out on March 22nd on Hyperjazz Records.
Seven instrumental tracks, tight and essential, which bring into sharp focus the talent and versatility of one of recent years’ most interesting groups in the jazz, hip-hop, and alternative-rock scenes.
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The new project by the trio dismantles jazz’s traditional rules, absorbs influences and contemporary sounds and portrays with lucid irony the contradictions and conflicts of our times.
This record comes two years after their debut ‘Metempsychosis’, and solidifies Phresoul’s sound, where noise-rock improvisations coexist with neo-psychedelia, abstract hip-hop and space-jazz.
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