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DaRand Land, who hails from the post industrial confines of Buffalo, NY was one of the leading figures of Deep4Life, a cult label known for submersible oriented, yet dancefloor-friendly productions. With ambient synth-driven tones and heavy funk basslines being at the center of his sound, DaRand Land’s music often evokes an introspective quality, without losing its groove fundamental. DaRand’s works, which span decades on deep house labels such as Downbeat, Confluence and Pulp have been described as “uncompromising” and has afforded him a passionate following of listeners who seek a more emotive, thought-provoking brand of underground music.
Teaming up once again with Scissors and Thread - the perfect fit for his sound - DaRand Land drops an album full of crafty, trippy house for the heads. Wander Being contains 10 tracks on the double vinyl release with a pair of additional tracks for the digital release. The vibe is deep and sleek, with a rough, bumping edge. The title track sets the tone, a smattering of percussion accompanying a thick, round kick drum and Rhodes chords, giving off a classic Detroit feel. Tracks like Turn to The Music ramp up the energy somewhat, but overall the tracks sit in the sweet spot between dancefloor burners and soulful, jazzy, deep cuts. Noticeable is the space given to each element across the tracks - the hi-hats sparkle, the snare snaps, and the basslines roll and rumble. Add to this the magic melodic flourishes provided by the pads and synths, reminiscent of the late Mike Huckaby in places, made this whole album a thoughtful, joyful experience.
„The genesis for the Wander Being LP”, says DaRand “was a desire to return to the essence of some of my original Deep4Life productions. How was this accomplished? Principally, through the exclusive use of hardware components, minimalist arrangement, and a minds-eye approach to source the musical elements. In particular, the single, The Nature of Reality was written to convey a sense of what it feels like to be in a state of suspended animation. There is a natural tension introduced via the organic, swirling pad progression juxtaposed against endless vocal echoes and the low-end groove of the bassline. Thematically, I wanted to carry this forward through the entirety of the album.
balancing subdued keys and strings with ethereal tones and atmospheres

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singersongwriter and guitarist. "It's what feels most true to who I am as an artist." `Tsukino', Mei's debut, self-released EP, is being released physically for the first time ever on Bayonet Records! The EP will be released by itself on CD & Tape formats, and will be included in a vinyl pressing on the B-side of Semones' landmark EP, `Kebutomushi'! Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays into angular indie rock more now than ever before. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genrefusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

Zwölftes Volumen dieser grossartigen Erfolgs-Serie (und Stag-O-Lee Bestseller) mit entschleunigten R&B/Soul/Exotica Songs, so wie sie einmal im Monat in einem Club in Melbourne/Australia auf den Plattenteller kommen. Um Mitternacht am letzten Samstag jeden Monats versammeln sich jede Menge finstere Gestalten und vintage music lover in einem schlecht beleuchteten, mit Zigarettenqualm gefüllten Raum in Melbourne, um zu diesen slow grinding Tunes zu tanzen. Compiliert von SGF-Chef Ritchie1250, der auch für die Linernotes verantwortlich ist.

Remastered Reissue des 1995er Israel Vibration-Albums "On The Rock", produziert von Doctor Dread unter Beteiligung der Roots Radics in Originalbesetzung. Mitte der 1990er klang der Israel Vibration-Sound härter und grösser und war besser produziert, was der Band die Türen zum internationalen Erfolg öffnete, die sich auf Marathontour durch Europa, die USA und Südamerika begab. Die LP enthält das kraftvolle "Rudeboy Shufflin", das kultige "On The Rock", beides Meilensteine ..der Bandhistorie, sowie die Beatles-Interpretation "Love Is All You Need". Um die Soundqualität weiter zu verbessern, wurde die ursprüngliche Einfach-LP auf ein Doppelformat erweitert.

Miles Away are thrilled to present the first-ever 7-inch vinyl reissue of the modern-soul classic "Yes It's You" now backed with the original A-Side "We're Lovers Day & Night". Officially licensed from the Smiley estate and presented in brand new picture sleeve designed by the talented Jeremy Zombie.

Eugene Smiley had soul music running through his veins. His career began with The Mists (later to be known as The Visitors), who signed to Dakar Records in the late '60s. Under the mentorship of one Carl Davis, Eugene grew into a powerful musician, who would go on to tour with the likes Rufus Thomas, Bobby Womack, Al Green, the Stylistics, Eddy Kendricks and The Chi-lites.

Released in 1978, "Yes It's You" is a three-minute, up-tempo modern soul gem that draws from the decades Eugene spent spreading quality soul music performing across America, with some of the finest cats the soul music world has ever seen. A track that wouldn't have been out of place had it been found on the Brunswick catalogue.

Operating since the late 2010s, Vienna-based sound artist the concept horse has quietly amassed a distinctive and diverse discography, drawing inspiration from the rich traditions of musique concrète, noise, plunderphonics, microsound, and free improvisation. “Public Detail” follows releases on labels such as FALT and czaszka rec., as well as the artist’s own eë editions, and neatly encapsulates the polyglottic breadth of the project. Patinaed piano loops and wistful ambience give way to chance percussion environments, beat research, and treated location recordings, resulting in a suite of evasive and diffuse music informed by dialectics such as repetition/unrepeatability and formal rigor/chaos.

“A door space to further diagrams, white on blue, a window.”

recorded and arranged in vienna, austria between 2021-2023.
35mm photograph taken by the concept horse.
risograph print and cover design by marie vermont.
mastered by angelo harmsworth.

Mit ihrer EP "Hand Of Blood" legten die Bullet For My Valentine einen Senkrechtstart hin: In Großbritannien verkauften sie aus dem Stand gleich über 20.000 CDs, und auch in Deutschland mischten sie die Singlecharts kräftig auf. Am 30. September erscheint endlich der heiß ersehnte Longplayer "The Poison". Das Ergebnis klingt gleichzeitig eingängig und brutal, was wütenden Songtiteln wie "Suffocating Under The Words Of Sorrow" oder "Hit The Floor" den passenden musikalischen Rahmen liefert. Nach einem Cello-Intro, das die finnischen Klassik-Metaller Apocalyptica eingespielt haben, bricht mit dem eigentlichen Opener "Her Voice Resides" die Hölle los. Danach folgen Metalcore Hymnen der extraklasse wie z.B. "All These Things I Hate" oder "The End". Die Kult Single "Hand Of Blood" darf natürlich auf diesem Album auch nicht fehlen. Das Album "The Poison" erscheint in einer Jewelcase Version und in einer streng limitierten Digipak Edition mit Bonustrack und Enhanced Video Part (inkl. Videos "Hand Of Blood" & "4 Words"). Doch damit nicht genug - nachdem das Quartett den Welsh Music Award gewonnen hat, folgt nun auch noch eine Nominierung von Englands führendem Rockmagazin Kerrang!

Neue Farbe des 2019 Album in GOLD / BONE MERGE Vinyl!

We’re happy to cordially invite you to the REGRESSION SESSION, hosted by eternal Philadelphia scene flag bearers ZILLAS ON ACID!

And if you think this sounds awfully lot like a scam, you’re probably right: „Regression Session“ is just a front of their illegal black market operation, trading raw uncut gems on a large scale. Just listen to the opener and title track and you won’t exactly have a strong case for the Zillas selling out, but rough as it is, this thing is capable of destroying any dancefloor it touches.

Looking at their recent releases it’s fair to say the Z’s are on quite a run, putting out music on labels like Permanent Vacation, Throne Of Blood, Multi Culti or Ivan Smagghe’s Disques de la Mort. Tunes like the sneaky rough slow burners „Underling“ or „Start Digging“ sound like they could be lifted from the latter’s infamous DJ sets, while the deceptively titled „Cha Cha Cha“ or closer „Casual Observer“ justify the „Acid“ in the artist name. „Shining Snakes Across The Lake“ is what some years might have been called a mid-tempo house roller and probably counts as downtempo these days. Speaking of tempos, the penultimate „Sweet Days Of Discipline“ starts of masquerading as reaaally downtempo, but ends up throwing 155bpm kick drums at you, so better watch out, all you k-hole ravers! Let’s not forget to talk about „bquiet“, which is what you’d call mid-tempo house these days (125bpm) and uses the eternally banging combination of a jacking beat, a polyrhythmic bass line, some lead-synth stabs and talking vocal slices. You can practically smell the sweat.

So what’s left to say? What you see is what you get: They are Zillas, and they are on Acid. And they provide a collection of eight tunes that probably each don’t necessarily have a double-digit amount of tracks in their DAW projects, and that’s exactly what makes them so forceful. Join the regression session!

Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle is pleased to announce an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognise its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.

Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra’s self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang we are treated to Maitra stretching out for over forty minutes on the late night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra’s spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician’s birth.

Crackazat seamlessly blends contemporary electronica with dancefloor euphoria on his new record “In the sky”

Crackazat has had quite the run of amazing releases on Heist since his first outing back in 2021. Alfa, 2022 follow up Demucha and his mini album ‘Senses’ released last year have shown that Heist is the perfect label for him to show off his keyboard wizardry and broad musical influences. Whether he’s doing his ‘Monday Jams’ from his home for his dedicated Bandcamp followers, or he’s on the road to South Africa where he has a huge following, Crackazat always brings something special with his music. ‘In the sky’ hits you right in the feels and sees the talented musician navigate from synth-happy dancefloor cuts to electronic & jazzy deep house.

What might stand out most on his new record is how Crackazat feels totally at ease with all these different styles and how he blends his voice seamlessly in the tracks to add depth, meaning, and energy. This might be most apparent on the title track, which is built around a syncopated ‘Alfa-esque’ key loop (Crackazat fans will know what we’re talking about here). There’s gorgeous vocal chops and warm arpeggiated synths in the background that give the track lots of texture, while the percussion shuffles along in perfect swing with the song’s energy. Add some lovely strings, leads, and a moody breakdown, and you’ve got yourself a fine piece of dancefloor magic.

On “Burnin’”, Crackazat channels his inner raver with 90s inspired percussion, a honky
piano loop, and some very catchy & quirky vocal chops. He freely sprinkles claps and snares around like it’s Christmas and the big breakdown has the kind of madness-inducing energy that gets every clubber going!

EP closer ‘Dark’ is Crackazat in his most contemplative mode; a vibe he always loves to explore on his Heist outings. The bass is deep, the kick heavy, and the synth licks are mellow but powerful. His voice and effects give this track a beautiful extra dimension that would even make Fred Again jealous. The stripped-back percussion has clear influences from contemporary African dance music, which adds yet another layer to Crackazat’s broad sonic landscape. All in all, Dark is a track that makes you want to close your eyes and just sway into oblivion.

Crackazat once again manages to take us on a deep trip into his sonic world and showcases a level of craftsmanship that most of us can only dream of. ‘In the sky’ is a lovely end to our 2024 releases and we hope you enjoy the music.

As always, play it loud and dance, dance, dance!

Maarten & Lars

UNRELEASED SOUNDTRACK BY BANCO DEL MUTUO SOCCORSO RECORDED IN 1981

AND UNVEILED FOR THE FIRST TIME EVER IN PHYSICAL FORMAT!

“Greggio e Pericoloso” is a 1975 novel written by the engineer and science communicator Roberto Vacca, which narrates an intricate story of fictional-economic and political intrigue arising from the possibility that a resource such as petroleum might turn out to be an inexhaustible resource on our planet. In 1981, that same book became material for the screenplay of four-episode mini-series, produced and broadcast by RAI in the autumn of that very year.

Despite the undoubted quality of the material, this soundtrack – along with others made by the group that have yet never seen the light of day – has remained completely unavailable until the present day, and for the very first time in over 40 years it is finally being released in physical format and made known to the many Italian prog fans who were probably completely unaware of its existence.

BRAND NEW STUDIO ALBUM FOR AN ITALIAN PROG-ROCK LEGENDS!

The comeback of the Milanese band Alphataurus can only have the status of a big event among fans of Italian progressive rock, thanks mainly to the indelible mark left several decades ago with their 1973 eponymous masterpiece. After ten years of absence, filled with a long series of live appearances, Alphataurus once again knocks on the doors of prog-rockers with a brand new album, whose long recording process unfortunately ended with the departure of founder guitarist Guido Wassermann.

“2084: Viaggio nel Nulla” (2084: Journey into Nowhere) is a 100% Alphataurus record, starting from its beautiful and futuristic three-panel cover illustrated by the band’s new drummer, recalling the paintings of the magnificent debut album.

The short but intense initial phase of Jumbo’s career, marked by the release of three albums in 1972/1973, revealed their distinctive approach to Italian progressive rock and rapid artistic growth.

“Vietato ai minori di 18 anni?”, released in 1973, represents the peak of this era, showing the band’s evolution from an English beat-related beginning to a more mature and meaningful work for Italian prog fans.

On the occasion of the 50th anniversary of this masterpiece’s release, Jumbo were invited to the prestigious Prog and Frogs festival, where they performed the entire album live, enriching the experience with interesting explanatory introductions for each track. During the show, Jumbo amazed the audience, displaying the same drive and passion as they used to fifty years ago.

Simply put, a must-have for lovers of Italian progressive rock music! Clear orange vinyl edition with gatefold cover.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

All Traps on Earth is the name chosen by Änglagård’s founding member and bassist Johan Brand for this project of his, involving keyboard player Thomas Johnson and drummer / percussionist Erik Hammarström from the same ‘source band’.

They are joined by Johan’s talented daughter, Miranda Brand on vocals, as well as a plethora of guests from the Swedish scene.

Fans of King Crimson, Goblin, Magma, the Canterbury scene and even of Ennio Morricone, whose sounds are frequently recalled during the record, will enjoy this album for sure, but we have no doubt that any prog-lover will appreciate this unexpected, fantastic album.

8/10 FULL-PAGE LEAD REVIEW IN UNCUT: “TALENTED ARTISTS SUCH AS ALDOUS HARDING , DELANEY DAVIDSON, IVY ROSSITER AND MARLON WILLIAMS REPRESENT A FRESH COUNTRY-FOLK/AMERICANA MOVEMENT IN AND AROUND CHRISTCHURCH AND DUNEDIN. NADIA REID'S IMPECCABLE DEBUT WILL MAYBE SET A WIDER ORBIT IN MOTION.”
4/5 LEAD REVIEW IN MOJO: “INSPIRED DEBUT BY A YOUNG NEW ZEALAND SINGER-SONGWRITER YOU'LL FEEL YOU'VE KNOWN FOREVER. A WONDERFUL ALBUM"

SUNDAY TIMES DEBUT OF THE WEEK: "SHE RANKS ALONGSIDE LOW AND THE COWBOY JUNKIES FOR DELIVERING SLOW-BURN EMOTION"
"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN PLAYLIST
6MUSIC ALBUM OF THE WEEK
A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.
Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.
Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “Aldous was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”
Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

Über drei Jahrzehnte nach ihrer Gründung durch Leslie Mandoki, setzen Mandoki Soulmates mit ihrem Album "A Memory Of Our Future" nicht nur musikalisch neue Maßstäbe, sondern präsentieren ein produktionstechnisches Meisterwerk: Das gesamte Album wurde analog aufgenommen und produziert - vom ersten Ton bis zum fertigen Vinyl. Die Produktion des rund 80-minütigen Konzeptalbums ist ein seltenes Unterfangen in der heutigen Musiklandschaft. Mit durchgehend analoger Signalverarbeitung vom Mikrofon bis zur Vinylpressung ist die Produktion von "A Memory Of Our Future" ein Manifest von Präzision und Leidenschaft, die in jedem Ton des Albums zu spüren ist. Das Mastering des analogen Magnetbandes durch Greg Calbi im renommierten Sterling Sound Studio in New York und der Vinylschnitt in den Emil Berliner Studios sind ein Symbol für die audiophile Exzellenz des Albums. Mit einem Setup, das in der gegenwärtigen Musikproduktion kaum noch zu finden ist, und mit der die Band eine Wärme und Lebendigkeit in ihrer Musik eingefangen hat, die in digitalen Aufnahmen oft verloren geht, haben die Soulmates ein Werk musikalischer Vielfalt geschaffen, das von Prog bis Jazz Rock reicht, und kompositorische Reife, spielerische Leichtigkeit und kunstvolle Solos mit großen Spannungsbögen und tiefgründigen Texten zu gesellschaftspolitischen Themen verbindet. Die generationsübergreifende Supergroup von Rock- und Fusion-Großmeistern mit Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg und Mark Hart (beide Supertramp) ruft mit dem Album zum Handeln gegen Spaltung und für Menschlichkeit auf. Mit "A Memory Of Our Future" gelingt den Soulmates eine einzigartige Verschmelzung audiophiler Exzellenz und gesellschaftspolitisch relevanter Musik. Dieses Album ist nicht nur für Fans von Prog und Jazz Rock, sondern für alle, die echte Musik zu schätzen wissen.