We don’t make a habit of covering live albums, but this one forces our hand. It’s too electrifying, too singular, too alive in every sense to ignore. ‘Dafnie EXTENDED – Live at Moldejazz’ captures Amalie Dahl and her expanded 12-piece band in full force during the world premiere at Moldejazz in July 2025. Following extensive touring and two critically acclaimed albums with the original quintet, Dafnie Dahl has further developed the material into a larger, more energetic format. The music is built on her distinctive compositional language: small cells, melodic fragments, open structures, and clearly defined moods, which here gain new power through a large ensemble featuring a double rhythm section, expanded horn line, keys, and electronics. The recording captures a band operating with high precision and strong collective momentum. As we said, live albums usually stay off our radar, but this fearless, vividly alive recording deserves attention.

Here’s one to get excited about: a rare collaborative album from two Japanese electronic and experimental heavyweights. Yasushi Yamashita, half of ambient pioneers Inoyama Land and a key figure in the Kankyō Ongaku universe, joins forces with Asuna, the mind behind the cult performance 100 Keyboards, a slew of singular solo releases, and that much‑loved LP with Jan Jelinek. It’s a meeting of two generations of sonic explorers, each with their own way of bending time, tone and texture. The result feels like a quiet conversation across eras – playful, patient, and full of strange little details you only catch on the second or third listen. Oh, the vinyl edition is limited to 200 copies. If this one speaks to you, don’t sleep on it.

What drummer, composer, and bandleader CAVS (Michael Cavanagh) delivers here is an album rich in sound and spirit – a space where he and his guest musicians get room to shine, both individually and, more importantly, in the way the music breathes as a true collective effort. Sojourn is a record that deepens with each listen, revealing new colours and connections over time. Elements of jazz, prog, funk, and krautrock weave through its core, all pulled together into a cohesive, exploratory whole. Highlights include ‘First Light’, ‘Paititi‘, ‘Emerald Nile‘, ‘Candiru‘, and ‘Victoria Amazonica‘. An intoxicating listen.

In our last Web Web review (see here), we praised their ability to maintain quality while releasing music at a rapid pace. Nothing’s changed. Seven albums, in ten years, this German jazz ensemble is not messing around. Their latest offering, Kover Kover, finds them covering classic songs by Nirvana, Klaus Doldinger, Grace Jones, Black Sabbath, Jimi Hendrix, Talking Heads, and more. My current faves are their bold and inventive interpretations of ‘Slave To The Rhythm‘!, ‘Come As You Are‘, ‘Ataraxia‘, ‘Big Schlepp‘, and ‘Sweet Dreams‘. Kover Kover might be their strongest record yet, an absolute blast from start to finish. Just hit play and revel in Web Web’s brilliance.

With their second album, Hedvig Mollestad Weejuns deliver a listening experience that stands apart from their live debut. Where their debut sprawled with live tracks running over twenty minutes, this album tightens the focus, topping out at an eight‑minute piece. The magic of Hedvig Mollestad (guitar), Ståle Storløkken (organ and synth) and drummer Ole Mofjell lies in the way they interact and respond to each other. “Weejuns is all about interplay,” explains Mollestad. Featuring six tracks with a title Bitches Blues (a wry play on Miles Davis album Bitches Brew), the music ranges from riff-based rock-ish (Bitches Blues), to loud chaos (Dynamax), to melancholy ballads (Recollection Of Sorrow) and totally free improvisations (Kompet Blir). You won’t want to miss this album; it’s definitely worth your time and attention!