OUI080 : Max Devereaux / Free Jazz on a Saturday Afternoon

 

Cover art by Max Devereaux

OUI080 : Max Devereaux / Free Jazz on a Saturday Afternoon

A raw, solo electric guitar session captured in single, uninterrupted takes during the summer of 2025. Following in the avant-garde tradition of solo works like Masayuki Takayanagi’s 1982 recording Lonely Woman, this album finds Devereaux swapping between two separate Fender Stratocasters to carve spontaneous structures and gestural expressions out of thin air.

Recorded in Devereaux’s downtown Minneapolis skyscraper apartment, the music is a pure, free-form expression of the guitar. The session was filmed in its entirety by long-time collaborator Michael Sodnik, whose expressive, kinetic camerawork reacts to the sonic shifts of the guitars in real-time, capturing the physical intensity of the recording process.

A nice video:

Digital release on the 10th of July 2026.

Track listing:

1. Improvisation I

2. Improvisation II

3. Improvisation III

4. Improvisation IV

5. Improvisation V

6. Improvisation VI

Apple Music, Itunes, Deezer, etc.:

https://bfan.link/free-jazz-on-a-saturday-afternoon

And on Bandcamp:

OJP085 : Miss Canine Hoe / incurable disease no.69

 

Cover art by Elly Sheena

OJP085 : Miss Canine Hoe / incurable disease no.69 

This album came to fruition through a project initiated by Elly to compile tracks previously released as singles into a single collection. She suffers from Ossification of the Posterior Longitudinal Ligament (OPLL)—an intractable disease that would make one want to grab God by the collar and beat Him to death, were He to exist—and has undergone numerous major surgeries. Yet, upon learning that this condition is designated by the government as "Intractable Disease No. 69," she found the number amusing enough to make it the album's title and even used it to guide her song selection. Her remarkable resilience and unique mindset—turning such a situation into something to laugh about—left me both chuckling and deeply impressed.

Mytyl says:

"While we often discuss the techniques behind our work—sometimes reflecting critically on our methods—we rarely speak or write about what we actually intended to convey. This stems from our belief that an artist should not impose a specific interpretation upon the audience. However, I would like to make an exception for this album. I want to explicitly state that it is imbued with prayer. Earlier this year, a friend of mine underwent major surgery for a designated intractable disease and is now working hard on rehabilitation. I am not arrogant enough to naively believe that such a prayer will simply reach its destination and be granted; yet, for the sake of those I love and hold dear, I wish from the bottom of my heart that—if there is indeed someone out there who can grant such prayers—this one reaches them, and that they choose to answer it.

We’ll be releasing new material regularly, and we hope you enjoy it. I also share updates on our creative process, recent news, and future plans—as well as our ongoing journey—on my blog (https://mch.world), so please check that out too.

And, of course, nothing would make us happier than meeting you in person at a live show someday.

I hope that you, having listened to this album, will be surrounded by beautiful sounds and always live with a smile. I pray that the message behind the song "If That Bastard God Hadn't Abandoned Me" reaches you.

With all my love and gratitude to you—and to Elly."

Miss Canine Hoe Bandcamp:

misscaninehoe.bandcamp.com

This album is a Bandcamp only release on Off but you can get the CD or USB key directly from Miss Canine Hoe here: 

misscaninehoe@gmail.com

Bandcamp only digital release on the 7th of July 2026.

Track listing:

1: SIX NINE

2: Chronicle

3: Doves

4: Turn Your Scars into Stars

5: But it went out like a lamb

6: recrystallization

7: Prayers

Bandcamp:

OUI082 : The Wrong Object / after the exhibition

 

OUI082 : The Wrong Object / after the exhibition

Belgian prog heavyweights, The Wrong Object, make a spectacular return to center stage, with a studio album of brilliant original compositions -- and epic proportions! After a five-year absence, After The Exhibition showcases a variety of fresh, powerful material, masterfully delivered by a capable, cohesive new lineup. With their aesthetics still rooted in an array of storied inspirational models, The Wrong Object ventures further into hybrid musical territories -- pushing the boundaries of progressive jazz, rock and contemporary music, yielding results that are as stunning as they are superb. ... and the evidence of this -- After The Exhibition -- is overwhelming. Perhaps the influence of the late Frank Zappa has never been more apparent. The songs continually weave, duck, dart, and 'stop on a dime,' while exhibiting the "controlled reckless abandon" and a similar zany, humorous approach to both harmony and melodic/thematic motifs, akin to that which characterized his work. This is a herculean effort; one that goes a long way in filling the very noticeable long-standing void left in the wake of Zappa's departure. After 10 years of an existence marked by extensive touring, recording and numerous collaborations with international jazz and rock luminaries (Elton Dean; Harry Beckett; Annie Whitehead; Alex Maguire; Stanley Jason Zappa; Ed Mann), the band has reinvented itself in remarkable fashion: morphing from a quintet to a sextet, while embarking on exciting new sonic destinations. The music is engrossing, featuring a more pronounced use of electronics and vocals, while preserving their trademark energies and unique conceptual continuities. The inclusion of the hugely-talented, prodigious keyboardist Antoine Guenet (who is also the leader of MoonJune's recording artists SH.TG.N, and fresh new member of the legendary Belgian rock-in-opposition and avant-jazz-rock luminaries, Univers Zero) and two fabulous sax players (Marti Melia and Francois Lourtie), has given the band’s sound an unprecedented harmonic richness and rhythmic complexity. Combined with the foundation provided by (the also new member) bassist Pierre Mottet and (one of two remaining original members) drummer Laurent Delchambre, the band's charismatic leader and founder, Michel Delville (guitar and electronics), finds himself surrounded by a tight, razor-sharp unit that seemingly knows no bounds. Every so often an album comes out which proves to be a defining moment for both a group and its respective genre; this is just such an album. Delightfully quirky, undeniably bold and adventurous, but ultimately most satisfying: After The Exhibition is a huge triumph. This incredible new release shatters the progressive music template and dances madly on its remains. The Wrong Object have cemented their position among the genre's most elite, vital -- and potent! -- voices. This superb work is immediately essential -- an "instant classic!" It gets sweeter with each listen, and it will take up permanent residence in your regular CD rotation. This is profound progressive music at its most original, ambitious and achieving. 

Originally released on Moonjune Records in 2016.

Michel Delville: guitar, Roland GR-09
Antoine Guenet: keyboards, vocals
Marti Melia: bass & tenor saxes, clarinet
François Lourtie: tenor, alto & soprano saxes, voice
Pierre Mottet: bass
Laurent Delchambre: drums, percussions, objects, samples
Special Guests:
Benoit Moerlen: marimba, electronic vibraphone (Tracks 2, 3, 5, 6, 7 & 11)
Susan Clynes: vocals (Track 8)

Mixed and mastered by David Minjauw, at Studio Simonne, Brussels, Belgium.
Produced by The Wrong Object.
Associate Producers: Guillaume Dauzou, Henri Dedeken, Kyle Reese, Matthew Wright
Executive Producer: Leonardo Pavkovic

Digital release on the 2nd of July 2026.

Track listing:

1: Detox Gruel

2: Spanish Fly

3: Yantra

4: Frank Nuts

5: Jungle Cow, Pt.1

6: Jungle Cow, Pt.2

7: Jungle Cow, Pt.3

8: Glass Cubes

9: Wrong But Not False

10: Flashing Into Black Hole

11: Stammtisch

Apple Music, Itunes, Deezer, etc.:

https://bfan.link/after-the-exhibition

And on Bandcamp: