MayWay records news - Welcome to Mayway Records, Aghogho !

Aghogho – née Caro Abutoh (23) is een Antwerpse artieste met een kleurrijke fusion van soul, jazz en funk. Aghogho is Caro’s Nigeriaanse naam, betekent “kind van God” en weerspiegelt de sterke culturele identiteit die door haar muziek stroomt. Als zangeres en bassiste creëert ze een rijk geluid, gedragen door warme vocals, diepe baslijnen, zachte trompettinten en gelaagde harmonieën, verweven met onweerstaanbare, funky ritmes.
Muziek speelt al van jongs af aan een centrale rol in Aghogho’s leven. Ze zingt sinds haar kindertijd, speelt al jaren piano en ontwikkelde tijdens haar studies haar eigen artistieke stem. Recent behaalde ze haar masterdiploma aan het Conservatorium van Antwerpen, waar ze haar sound verfijnde door te experimenteren met instrumentatie, polyfonie, ritme en productietools zoals Ableton.

Met haar debuut-EP ‘17’ introduceerde Aghogho begin 2025 haar muzikale blend, verrijkt met afrobeats en meeslepende grooves. Vanuit haar half-Nigeriaanse achtergrond brengt ze een organische, ritmische gevoeligheid in haar sound, die al wordt vergeleken met artiesten als Nilüfer Yanya, Lianne La Havas en Zap Mama.
17 - EP by Aghogho | Spotify

Sindsdien gaat het snel: in december 2025 won ze Sound Track en eerder dit jaar opende ze al voor grote held Femi Kuti in De Roma en in de AB voor Ifé Ogunjobi, de Grammy-winning trompettist van Ezra Collective. Aghogho is ook artist in residence in Trix en werkt momenteel aan een nieuwe EP die later dit jaar verschijnt via Mayway Records. Een eerste single komt er in juni.

Listen to ‘17’ EP

AGHOGHO LIVE

08 mei 2026 | Ancienne Belgique, Brussel - support Ifé Ogunjobi

18 jun 2026 | V-Kurated, Brussel

20 jun 2026 | Parknacht, Turnhout

27 jun 2026 | Plein Publique, Roeselare

11 jul 2026 | Release Festival, Borgloon

21 jul 2026 | Boomtown Festival, Gent

24 jul 2026 | Paenhuys Park Happening, Hoegaarden

01 aug 2026 | Museumsnacht, Antwerpen

08 aug 2026 | Vremde Feest, Vremde

15 aug 2026 | Kampvuur Festival, Sint-Gillis-Waas

26 aug 2026 | Camping Louisa, Hoboken

26 nov 2026 | Viva Sounds, Göteborg (SE)

more tba

Genre
soul, funk, jazz, afrobeat
For fans of
Nilüfer Yanya, Lianne La Havas, Zap Mama, Raye

Even voorstellen – The Sheila Divine – Life is fragile

‘Life Is Fragile' is de laatste single uit het nieuwe album 'The Middle Ages' (release 22 mei) van The Sheila Divine

Vier dagen nadat het album verschijnt komt de band naar België voor maar liefst 5 shows!

Mocht je de single 'Hurry Up' gemist hebben: die kreeg vorige week deze HILARISCHE videoclip mee, waar de band dit over heeft te zeggen:
"Inspired by Jordan Peele's brand of dark humor, where you're never quite sure if you're watching something terrifying, funny, or both, we set out to make something that feels like Hunger Games meets Squid Game meets Running Man. Political commentary wrapped in something fun, wild, and unforgettable. Our friend Quentin Brogan helped bring the vision to life. Enjoy!"
https://www.thesheiladivineband.com/
The Sheila Divine - Hurry Up

SINGLE
'Life Is Fragile': https://open.spotify.com/track/2yQp7F80awX3HX1MUrunl5?si=TSk2EKt1QImESRl5m1Ojaw

LIVE
26 mei: Hasselt - Bootstraat 

28 mei: Brussel - AB

2 juli: Sint-Niklaas - Casino KIOSK 'Great Gigs In The Park'

25 juli: Olmen - Rock Olmen

 Lives 2025 Mei 2025
The Sheila Divine – 25 Y, Indie-Rock met een grote R en de puntjes op de ‘I’ … Uitbundig, krachtig, pakkend
The Sheila Divine - Honingthee voor de stem, gitaren voor de ziel

QUOTE
"This tour isn't about looking back. It's about the throughline - what's changed, what hasn't, and what's still on its way. We're still making music. We're still chasing the spark." - Aaron Perrino

Even voorstellen - SLOT - I Like My 

Nieuwe single

SLOT is een explosief dance-punkproject van het koppel Abby Detrich (zang) en Max Detrich (bas, drumcomputer), gevestigd in Baltimore, VS. Hun geluid is een krachtige mix van ruige pop en frontale punk, gedragen door zware, dansbare ritmes. Tussen noise-pop en alt-rock in transformeren ze de rauwe energie van underground concerten in een bevrijdende clubervaring.

Met hun nieuwe album Dry Swallow verkent het duo de kruispunten tussen performance en seksualiteit, en bevestigt zo een "self-actualized" geluidsidentiteit: uitdagend, krachtig en onverzettelijk zonder compromissen.

I Like My
Afkomstig uit Baltimore brengt het duo SLOT "I Like My"  een opzwepende dance-punk hymne. Met ruige baslijnen en een "bratty" energie verkent dit nummer de herovering van plezier en zelfbeeld. Geïnspireerd door de Y2K-esthetiek en Cibo Matto past het perfect in playlists zoals Indie Pop Fr of Alternative Beats. Een rauw, flirterig en punky geluid, ideaal voor clubatmosferen en alternatieve selecties.

https://exag.lnk.to/I-Like-My

NEW ALBUM  ‘Dry Swallow’ 11/09/2026

Voor fans van: Cibo Matto, Sneaks, Pill, The CIA, Nots.

Dry Swallow tracklisting
01. Jewelry

02.I Like My

03.Stuck In Your Head

04.Yapper

05.Food

06.Exit

07.Dry

08.Bad Credits

SLOT (dance-punk, Baltimore USA)
Gevestigd in Baltimore, Maryland, is SLOT het hoogspannings dance-punkproject van Abby Detrich (zang) en Max Detrich (bas, drumcomputer). Hun muziek is een krachtige fusie van flirterige pop en scherpe punk, aangedreven door zware, hypnotiserende elektronische beats. Met wortels in dance-punk, noise-pop en alternatieve rock is SLOT gemaakt om lichamen in beweging te zetten, gedreven door een gedeelde liefde voor industriële klanken en ritmische texturen.

De geschiedenis van de band begint in de DIY-scene. Abby en Max ontmoetten elkaar als vrijwillige organisatoren van het MACROCK-festival in Virginia, verbonden door een passie voor huiskamerconcerten en onafhankelijke tours. Na het uiteenvallen van een eerdere post-punkband tijdens de lockdown, richtten ze SLOT op. Met een geleende Boss DR-5-drumcomputer zette Max zijn ervaring als drummer om in elektronische beats, terwijl Abby zich ontpopte als een charismatische tekstschrijfster en performster.

Met hun nieuwe album, Dry Swallow, bereikt SLOT zijn volwassen klank. Als opvolger van hun debuut Limbo (2023) wordt dit project beschreven als flirterig, krachtig en rauw. Het verkent centrale thema’s zoals zelfacceptatie, het claimen van je eigen lichaam en de performance van seksualiteit. Het creatieve proces, oorspronkelijk geleid door Max, is uitgegroeid tot een volledige samenwerking waarbij Abby’s stemmen en Max’ ritmes elkaar inspireren. Geïnspireerd door de mediësthetiek van de jaren 2000 en de kruisbestuiving tussen elektrische muziek en het vroege internet, werd het album opgenomen met Danny Gibney in Virginia, met experimentele technieken zoals het doorsturen van zang door een Leslie-kast voor een organisch trillereffect.

Op het podium is SLOT een brute kracht: energiek, uitdagend en dansbaar. Ze deelden het podium met namen als Brainiac, Wargasm en CDSM, en waren te zien op festivals zoals SubScape.

Naast muziek is Abby bloemkunstenaar en Max grafisch ontwerper. Hun bijna 12-jarige relatie vormt de kern van de band en voedt een diepgaande artistieke en politieke samenwerking. Betrokken bij hun gemeenschap in Baltimore, steunen ze actief initiatieven voor ecologische gelijkheid en dierenopvang, waardoor SLOT meer is dan alleen een band: het is een creatieve verlengstuk van hun overtuigingen.

Even voorstellen – Thee Sinseers – Love story

THEE SINSEERS “LOVE STORY” 18/09 (colemine records/konkurrent)
“did ya know?” https://www.youtube.com/watch?v=TJtMF9UA0NA

Live Trix Antwerp  27 sept 26

Catching up with Thee Sinseers ahead of their new Colemine Records release, Love Stories, one thing becomes abundantly clear: this is not an LP that explores a neat and tidy love story.

The vision of love put forth on this record is full-spectrum. Think of the seminal 1993 East LA film Blood In Blood Out — three protagonists bound together through hardship, strife, and diverging roads, who ultimately circle back to reckon with why they remain. It's a similar story here. Love Stories isn't interested in the happy ending. It's interested in everything that comes before it, after it, and in spite of it.

Of course, none of this is accidental. More than a new record, Love Stories is a portrait of a band that has finally grown into itself — one that knows exactly who it is and isn't shy about saying so. As Quiñones puts it: "It's a solidifying statement of where we are now. This is our style."

Bassist Christopher Manjarrez described that confidence as something you can hear: "Everything was just that notch up." In contrast to Sinseerly Yours, which had developed organically from a four-piece into an eleven-member ensemble, Love Stories was built from the ground up as a collective effort — every role established before the band entered the studio. "We went in knowing these are the roles that are gonna be played by these people," Quiñones says. "Everybody was considered wholeheartedly in every arrangement aspect."

That collective approach extended into the sonic choices themselves. Every member zoomed out — listening not just to their own parts but to the record as a whole, what Quiñones calls thinking like "a beautiful painting" rather than a collection of individual tracks. With that foundation in place, the band handed the final mix to engineer Kelly Finnigan. "We could get so far with our opinions," Quiñones admits, "but at the end of the day there's still 10 or 11 of us trying to figure out what's right." The band also leaned into earthier instrumentation — standup bass, guitars run through amplifiers for a warmer sixties-adjacent tone — pulling inspiration from wherever it presented itself, even the most unlikely of places. It's that cross-genre thinking that Quiñones sees as the record's defining quality. "It didn't feel like we were making soul music at any point," he says. "It felt like we were making our music."

But the sonic ambition of Love Stories only tells half the story. The band sought to capture something more honest than a highlight reel — showcasing the highs and lows of romantic relationships while expanding the frame to include the familial, the complicated, and the unresolved. On "Let's Fall In Love (Again)," Quiñones's protagonist pleads for a second chance before stopping mid-song to acknowledge his own role in the heartbreak — trading wishful fantasy for something far more honest. It's that kind of emotional candor that runs throughout the record. The band's parents appear in the album art, their own love stories folded into the record's visual identity, some of those stories still standing, others not. As Manjarrez puts it: "Every single song title directs you down a different road of love — whether you win or lose." Quiñones wanted listeners to sit with that ambiguity. "Love is never-ending," he says. "It stretches beyond lifetimes. I want people to still be confused — I want it to be left like an open book."

To achieve what they're reaching for, every member of Thee Sinseers has had to check their ego at the door — and mean it. "The sense of ego is, in a weird way, non-existent when it comes to recording and writing," Quiñones says. "We're all fans of each other at the end of the day." It's the kind of trust earned on the road, forged through years of shared miles and close quarters — and reflected in a lineup that welcomed new additions seamlessly, including expanded roles for familiar faces and string arrangements from newcomer Skip Heller that push the songs into new territory.

That spirit of trust extends to their partnership with Colemine Records, built on patience and creative freedom. "Terry's like a homie," Quiñones says. "He gives us his input but we get a lot of freedom because he trusts us." For a band still actively defining itself on its own terms, that kind of label support isn't just appreciated — it's essential.

Yet one thing remains constant throughout: Thee Sinseers' commitment to where they come from. That East LA identity doesn't announce itself — it simply exists, woven into the fabric of the music without being worn as a badge. As Francisco Flores puts it: "We're from here. You can hear it a thousand miles away. You can't deny it — but we don't try to. It just comes out that way." Nowhere is that more apparent than on "Minute by Minute," which Quiñones describes as the album's most neighborhood-feeling moment — a slow dance number that conjures the gymnasiums of Roosevelt and Garfield High, intimate and unhurried, like a memory you didn't know you were making. There's no performance of heartbreak here, just the real thing.

Like an unsent love letter finally delivered, Love Stories carries the weight of everything that was felt but never quite said. The universality of that feeling is perhaps best captured in Quiñones's own words: "It's never too late to change. It's never too late to tell a person you love that you love them." After any song on this record, Eric Johnson says, there's really only one appropriate response. "Damn."

"Oh Love"  The opening track of Love Stories begins with earnest horns rising like the first notes of a sermon, before the band's signature East Los guitar groove settles in and cascading vocal harmonies take over, riding against the crisp rat-a-tat of the percussion. The sound lives at the crossroads of early rock and roll and R&B — think the twangy dexterity of Mickey & Sylvia meets the tender soul of Otis Redding, with the warm, windswept feeling of Freddy Fender running throughout. Supercharged by full horn accompaniment, it's a daydream and a rallying cry at once — a reminder that if everyone could feel the full weight of love, the world would be a more tender place.
________________________________________
"Did Ya Know?" A jaunty guitar groove opens things up before "Did Ya Know?" eases into its sleek, sunny pocket, buoyed by a playful organ that's warm and a little mischievous. It calls to mind the smooth sweetness of "These Eyes" by the Guess Who crossed with a sunshine reggae lilt — cool, unhurried, and completely effortless. The lyrics carry a fluency in early R&B that's become a Sinseers hallmark, and every so often the band pulls off one of those quietly dazzling instrumental turns that reminds you just how deep the well goes.

"Let's Fall In Love (Again)" Lush and dreamy from the first note — a soft drum roll gives way to perfectly picked guitar — "Let's Fall In Love (Again)" finds Joey Quiñones pleading with the lover of his dreams to let bygones be bygones. The arrangement is alive in every corner, with güiro, triangle, and vibraslap threading through the song like small, insistent heartbeats, highlighted by warm backup harmonies. But midway through, his protagonist fesses up, acknowledging that his own misgivings were the source of the sadness and pain, trading wishful fantasy for something far more honest. It's the kind of emotional turn that makes the sweetness of the surrounding arrangement hit that much harder.

"There She Goes" "There She Goes" arrives in full panoramic sound — western reverb guitar shimmering like a desert sunset at the edges, horns bringing a sweeping big-band grandeur to the center, with the Delfonics, Chi-Lites, and Stylistics as its soul orchestration touchstones. The protagonist is searching for a way to mend a broken heart, and what makes the track land is how human that search feels — held up by a call-and-response between Quiñones and the band that moves between longing and resolve like a conversation with yourself at 2

a.m. There's no performance of heartbreak here, just the real thing.

"How Lonely Is Lonely"  Like a burst of sunshine breaking through, the opening notes arrive on a soft snare beat, a twinkle of keys, and the light, airy flutter of a muted horn completing the picture. The sound sits somewhere between Brenton Wood's breezy West Coast soul and Alton Ellis's honeyed reggae sweetness — Quiñones toggling effortlessly between the two worlds in a single song. The lyrics follow a protagonist worn down by a woman who can't make up her mind, the two forever out of sync, never quite landing on the same page at the same moment. By the second verse, Quiñones lets loose in one of his signature emotional howls — raw and searching, the sound of someone who has hit the bottom and is pleading not to be left there.