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After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

2021 sees the release of the long-awaited third album from Pola & Bryson - ‘Beneath the Surface’. Since their debut release in 2015, Pola & Bryson have transitioned from the exciting ones to watch to the unquestionable leaders of new school liquid drum and bass, grabbing the attention of the scene's greats in the process.

“Masterful production and musicality throughout, I love that the album has been made just as much for the home listener as for the clubs. For me, these guys are leading the new wave of liquid drum & bass.” Sub Focus

As digital streaming services continue to dominate as the primary source of music consumption, the wildly contested ‘death of the album’ debate continues to burn throughout the industry. To counteract the current trend of single tracks and playlist placements, Pola & Bryson wanted to experiment with a concept album.

“We envisioned a landscape to act as inspiration to us whilst writing this album. The landscape is made up of 4 distinct sections, each representing a different emotional state. The first being Shinrinyoku (a Japanese term for forest bathing), represented by a dense, peaceful forest environment. Mangata (loosely translates to moon river) takes you to the edges of a cold, misty lake which eventually leads you to Toska, representing a dark and endless cave. All transpiring with Yuugen, a vast and epic mountain range. The album, paired with bespoke animated visuals, paints the perfect reflection of the journey.” - Pola & Bryson

‘Beneath the Surface’ features collaborations with the drum and bass scene's hottest vocal talents, with each being selected to effortlessly meld with the respective soundscapes. After previously working with both Lauren Archer and Ruth Royall with beguiling success, Pola & Bryson knew that they wanted to send some ideas to both artists. This resulted in the creation of two beautifully blissful tracks ‘Under’ and ‘Friend’, which became the first two singles to be released from the album. While Solah and Kojo were specifically picked with their tracks in mind, Manchester favourite Strategy’s appearance on the release was an altogether more organic stroke of serendipity. The duo were unsure whether 'Anaesthetist' was going to make the cut as an instrumental, and were floating the idea of working with a vocalist when Strategy messaged them seemingly out of the blue. They knew in an instant that his sound was the perfect fit for the track.

Over the last five years, Pola & Bryson have steadily ascended from promising newcomers to well-respected leaders of the next liquid generation. The London based pair’s production credentials are now so well-respected that they have recently been commissioned for huge remix projects for Sub Focus x Wilkinson and Camo & Krooked and released a collaborative EP with Brazil’s legendary DJ Marky. Since their debut album ‘This Time Last Year’ on Soulvent Records and then 2018’s award-nominated Shogun Audio LP “Lost in Thought'', punters and peers have been on tenterhooks, anticipating what the duo would bring to the plate next. Effortlessly living up to its hype, anyone who journeys through the ever-changing soundscapes of ‘Beneath the Surface’ will be immersed into a new world of sonic expression.

Strut return to the rich archives of Black Fire Records for the Drum Message album by Ghanaian master percussionist Okyerema Asante from1977. After playing a short spell early in his career with Ebo Taylor's Blue Monksband at Tip Toe's in Accra, Asante joined the fledgling Hedzoleh Soundz during the early '70s at their Napoleon Club residency in the city. After playing Fela's Shrine, Fela recommended them to Hugh Masekela as an ideal backing band and Hedzoleh joined Masekela on a US tour in December 1973. Sharing the same management company, Charisma, Asante first met Plunky and Oneness Of Juju during an East coast tou rwith Masekela, starting a relationship with the band that has endured until today. Recorded at Arrest Studios in Washington D.C. in October 1977 and featuring musicians from Oneness alongside Gil Scott Heron cohort Brian Jackson on piano, Drum Message represents an important milestone fo rAsante: "This album really came from my heart. I wanted to project the African spirit in the music and come out with some unique African jazz. To be able to record it on Black Fire was extra special." The album also involved some serious physical graft: "The studio was up on the 14th Floor and the elevator was often broken down. I showed up with a van full of African drums and Jimmy Gray from Black Fire and myself had to carry them all the way up there, each day!" The resultant album was well worth the sweat. 'Adowa' adds jazz arrangements to a traditional Asante rhythm and Oneness classic 'FollowMe' is skilfully re-worked ("I used the bass drum in place of the bass guitar so it was all based on rhythms."). New versions of Asante dancefloor favourite 'Sabi' sit alongside the mellow groove of 'Asante Sana' ("I wantedsomething cool like reggae or highlife on that track, a similar vibe. So, Iwent inbetween.").

B. ASHRA's "Diestelman" is danceable for a long time with its just under 130 bpm and yet it gives off such a strange calm that it just seems weird. Very, very slowly, the 303 and percussion sounds accumulate and take you away. This spectacle lasts 11 minutes, in which one can only be a will-less object. Quite aloof brilliant. Askja

SUB PLATES Vol 5!! - SUB PLATES is back and in the original format that made it such collectable item when it launched back in the day! 2 x 10 inch vinyl replicating the dubplate style acetates. And picking up from where it left off with Vol 5 like it's never been away!

First up is the return of Suburban Base recording artist Cool Hand Flex, who had music featured on the first generation SUBPLATES! The track here 'Get Down' is a piece of uncovered treasure that has been rediscovered having sat on DAT master in storage since around 1994 and never been released. Exclusively held on dubplate by Randell, Hype, and Flex himself, it is finally getting a release as part of this special package.

Next up we introduce brand new music from brand new Suburban Base recording artist Sound Shifter collaborating with the legend Marvellous Cain on the beautiful 'Light Source One', a rolling piece of DnB which manages to keep classic elements of production whilst at the same time delivering stunningly fresh Drum & Bass.

Subbase veterans Sophisticated Bad Boyz open record 2 with the DJ Phantasy VIP '94 Dubplate version of 'Feel The Magic', only held on Dub Plate by a very select few, and appeared only once on the D&B selection album 3 (The Dub Plate Selection) with very limited vinyl of that cut as 5 tracks per side, now for the first time ever you can get this stunningly remastered dubplate cut on a side all by itself sounding truly amazing.

Flipped with another much sought after classic dubplate special 'Intelone' by Asend was a Kool FM only VIP Dubplate around the time Asend aka Dead Dred hosted his show on the Midlands version of the infamous pirate radio station, it made only one appearance on a 1996 Kool FM dubplate special project and has been hard to find ever since. Remastered and sounding incredible!

4 amazing tracks on one highly collectible EP including unreleased tracks and limited dubplates, stunning value from SUBURBAN BASE RECORDS once again, in stock and ready to ship!

Distant Populations, just the fourth full-length album of Quicksand’s career,
comes as a comparatively swift follow-up to Interiors--which itself came a
full 22 years after its predecessor, 1995’s Manic Compression.
Critically lauded and deemed very much worth the wait, Interiors succeeded
in reestablishing the band as the powerful and contemporary entity they had
always been.
Distant Populations has a punchier, more up-tempo sound than its predecessor; its 11 songs are concise, carved sonic jewels boasting not a single wasted
note; and its raw power, its gripping lyricism, leaps out from the very first listening. It is a striking step up for the band.
The songwriting itself had been no minor process: Following the release of
Interiors, the band successfully toured around the world and in the process
fully re-established their chemistry together. Looking forward to making the
next album, the three of them frontman/ guitarist Walter Schreifels, bassist Sergio Vega, and drummer Alan Cage had methodically recorded various
soundchecks, improvisations, and show rehearsals, and compiled the results.
“Eventually, when it came time to make a record,” Schreifels says, “we would
just edit down to the ones that were most exciting to us all, and then refocus
on them and see if we could recapture the magic from it.”
There may be a final irony in the title of Distant Populations. Practically speaking, that’s precisely whom Quicksand recorded it for: Listeners very far away.
Not a single one of these songs has ever been played live onstage. The band has
dates on hold for the fall, notes Schreifels, and fingers are crossed Quicksand
will be out there performing very soon. They will likely be the most memorable
shows of the band’s career

Fans have been waiting eight long years for this new album from Ishi that
is expected to drop under Swedish Indie Label Icons Creating Evil Art, the
home of Flora Cash, Summer Heart, and Glamour Hammer.
It will be titled ‘Sweet Gold’ and feature the hit singles ‘Not My Girl’ and ‘LoFi Love Affair’ and the new single ‘Fly Away’. Ishi’s ability to successfully walk
the line between an ambitious studio act and a multi-sensory live experience
allows him to engage the audience in an uplifting celebration of life. His subtle
undertones of inner exploration combine to create a concert experience that is
unequivocally one-of-a-kind.
Each night, Ishi intends to create an entirely unique environment of mysticism,
awareness, love and acceptance. Adored by fans and critics alike, there is no
denying that Ishi is an immersive experience that everyone should discover.
Following the successful release of the Yuksek remix of ‘Not My Girl’ (supported by the likes of A-Trak, Kiss FM, Ministry of Sound, Amazing Radio etc.) and
a remix collaboration with the internationally acclaimed EDM-producer Oliver
Nelson, and his Goody Goody collab with fellow Texans CAPYAC; Ishi now line
up some new original music and the new album dropping early fall.

Docile Recordings continues with part three of a five cat series. Docile #30, the Alpha Cat ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. This Docile is a reaction to the stimulus of sight and sound; experiences, people and places inspire a sonic approach steeped in the realization of a moment. Docile aims to capture and release this moment in a minimal style that is its own. The Docile style appropriates noise of any sort to weave into its mello brand of 4/4 digi-o-log techno. Docile will continue until it can not; to shape sound into a spartan beauty.
hese arrangements speak soulfully, whether disruptive or smooth they define a struggle.

A1- brian wilson rides again----- this tribute to a master reflects a studio awareness theory in the breakdown of a minimal “good vibration” . a bass line scales down leading waves of synth and effect to crash upon an ambling kick shifting steady through a western soundscape.

A2-too jada ta’ trotta---the trash can of audio is thrown down the stairs with this haughty mover rocking a rolling crash through digi-glitch symposium.

B1-bumper car cocktail party--- a patchwork rhythms stutter and form together in a ruff and tumble jaunt soothed by a sexy sax that brings the assembly into line.

B2----pong-----crisp hi-hats rotate next to a steady clap complimenting a ponging in various forms under a cloud of dramatic synth calming the animal spirit.

In These Silent Days, the highly anticipated new studio album from six-time Grammy Award-winning singer, songwriter, performer, producer and New York Times Best Selling author Brandi Carlile, is out October 1. Ahead of the release, the album’s first single, “Right On Time,” featuring a music video directed by Courteney Cox launched on announcement
Inspired by the mining of her own history while writing this year’s #1 New York Times Best Selling memoir Broken Horses, In These Silent Days was conceived of while Carlile was quarantined at home with longtime collaborators and bandmates Tim and Phil Hanseroth. The ten songs chronicle acceptance, faith, loss and love and channel icons like David Bowie, Freddie Mercury, Elton John and Joni Mitchell—the latter two who, by some sort of cosmic alignment of the stars, have turned out to be close friends in addition to being her biggest heroes and inspirations.
In These Silent Days follows Carlile’s 2018 breakthrough GRAMMY Award-winning album, By The Way, I Forgive You, which Rolling Stone declared, “…an Adele-meets Joni Mitchell tour de force.” In the years since—in addition to collaborative projects with The Highwomen, Tanya Tucker, Soundgarden, Alicia Keys, Dolly Parton, Barry Gibb, Leslie Jordan, Brandy Clark and more—she has earned six Grammy Awards recognizing her work as a performer, songwriter and producer, was awarded Billboard’s Women In Music “Trailblazer Award,” CMT’s Next Women of Country “Impact Award” and received multiple recognitions from the Americana Music Association Honors & Awards including 2020’s Album of the Year (Highwomen), Group of the Year (The Highwomen) and Song of the Year (“Crowded Table”) and 2019’s Artist of the Year. Carlile was also once again nominated for Artist of the Year and Group of the Year (The Highwomen) at the 2021 ceremony.

John Prine’s Grammy Award-winning album, Fair & Square, is available on vinyl for the first time in over sixteen years. There are three special double LPs: standard black, opaque green and a limited amount of “Irish Edition”—green and orange vinyl with a matte jacket featuring embossed lettering.
Originally released in 2005, Fair & Square won Best Contemporary Folk Album at the 48th Grammy Awards and achieved the fastest rise to number one in the history of Americana radio. The record marked Prine’s first album in nine years, following 1995’s Lost Dogs and Mixed Blessings. Rolling Stone declared Fair & Square “an excellent set of songs full of rootsy warmth and unpretentious wit,” while The Washington Post praised its relatability: “this low-key masterpiece arrives not just as a reminder of Prine’s cleverness and mischievous wit but also as a confirmation of his deeply human values. These are values rooted in the enduring mystery and majesty of everyday, ordinary lives.”
Prine is a four-time Grammy winner and Lifetime Achievement Award honoree, a seven-time Americana Music Award-winner, a PEN New England Lyrics Award recipient and member of both the Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame. Since his debut in 1971, Prine released over 18 albums and has had his songs recorded by Johnny Cash, Carly Simon, Bette Midler, Bonnie Raitt, Norah Jones, George Strait, Miranda Lambert, Zac Brown Band and many others, while drawing effusive praise from Bob Dylan, Kris Kristofferson, Bonnie Raitt, Roger Waters, Tom Petty, Bruce Springsteen and more.

From the first show the Grateful Dead played in St. Louis in 1968 – when “St. Stephen” made its debut – local fans knew the Gateway City’s rich musical heritage had a unique way of coaxing the best out of the band. One of the shortest-lived iterations of the Grateful Dead was the band that existed December 1971 through March 1972. Jerry, Bob, Phil, Bill, Pigpen, and Keith formed a formidable version of the Dead that only played a few shows together before Donna Jean joined as vocalist, and before Pigpen would depart the stage for good in June 1972. What this sextet lacked in quantity of shows it made up for with creativeness, power, and inspiration.

When Pigpen re-joined the Dead on December 1, 1971, after a few months off during which Keith had joined as piano player, the band was now an unstoppably powerful live juggernaut it hadn't been since the height of the Primal Dead era in late 1968-1969. Widely considered one of the best shows from the Pigpen-Keith era of the Grateful Dead, December 10, 1971 in St. Louis has it all: Pigpen singing lead on four songs including an 18 minute version of Good Lovin' and a very rare performance of Run Rudolph Run; a deep dive into the Dead's psychedelic recent past with a monster version of The Other One; plus plenty of the new material from earlier in 1971 like Bertha, Loser, Sugaree, and Playing In The Band. They also hit upon much of the music that would appear the following year on Europe '72, such as Jack Straw, Tennessee Jed, Mr. Charlie, and One More Saturday Night. And no Dead show of this vintage would be complete without the "hits": Truckin', Sugar Magnolia, and Casey Jones all make appearances. This is truly one of the deepest, most dynamic, exciting, and accessible live shows in the entire Grateful Dead canon.

With a career spanning more than 25 years, the award-winning jazz guitarist has become widely acknowledged as one of the hardest working musicians in the business. Musically, Nigel’s blend of flowing bebop lines, deep blues sensibility and his mastery of chording continue to delight audiences and fellow musicians alike. His career highlights include a support show for Gladys Knight at The Royal Albert Hall and an appearance on Van Morrison’s recent album, Keep Me Singing. Starting his professional career in his early 20s, Nigel toured Europe with various reggae and funk bands before settling on a solo guitar career and turning his attention to jazz. Citing early influences as Wes Montgomery, Joe Pass, John McLaughlin and the Mahavishnu Orchestra, Nigel honed his craft by attending gigs and sitting in with the players of the time. He has played on more than 50 albums including seven as a leader, spent 10 years with acid jazz outfit The Filthy Six, was a member of James Taylor’s band, JTQ, for three years (with whom he recorded five albums) and performed with the legendary David Axelrod

The follow up to 2014's Grammy Award-winning Cheek To Cheek, Bennett and Gaga's latest collaborative album is a celebration of the Cole Porter songbook and a testament to the pair's enduring friendship and love for one another. The announcement of the album coincides with Tony's 95th birthday and two special performances at NYC's Radio City Music Hall, billed 'One Last Time'.

After his contribution to the "Lifesaver Compilation 4 - 21 (Dedicated To Andrew Weatherall)" last year with the pumping "Let's Hide Away", Damiano von Erckert presents his first proper full four tracker on LARJ. Expect dreamy moments with a lot of punch and great vocal snippets as Damiano dominates the bass drum in his masterful way.

A1 "MOONS" sucks you in with light and groovy bongo patterns which build the foundation for an uplifting track that's a bit dark around the sunnier side of things, yet still keeps the positive message: You and I can make it!

A2 "A MONSTER TO LOVE" sounds a bit like a modern take on the "Captain Future Theme", yet much deeper and darker. Atmospheric but built on one hell of a monster groove.

B1 "THESE ARE THE MOMENTS (FOR ZIMNI)" has epic qualities and is full of the uplifting moments we all need - not only Zimni … It does have a certain British sound to it and will definitely rule on a lot of dancefloors with its majestic bass line and whipping hi-hat.

B2 "WISHES" is reminiscent of yet more British sounds from the early 90ies (think Warp and early Nightmares On Wax). The beautiful vocal sample helps build up the tension here before a driving 303 bass line kicks in and takes no prisoners. You better wish for moments like these indeed … and relish them.

Impressions cast from lyric and rhythm – desire in movement, now articulated and set forth. Meaning arises between attention and action. In darkness what is it?

Air is breath, like light through crystal; it’s truth and sacred geometry. A version like ancient stone - the sample shows in layers, solid time. Compressed life. Pages packed together and seen from the edge, razor sharp and two dimensional. We are the salt we become, our children and ancestors. All at once, being forever; a verse, then volume and tome.

But we slow, dragging like ploughs tilling clay. The physical is a language like memory – translated into real. Turn from backwards to parallel, watch it reduce; remember downstream. The rock, earth and salt, our real reconfigured.

Type peels away, turning to sand in the wash. Disordering disorder - now still. Translation becomes everything, set sequence and entropy. Whole, to node, to nothing, and all. Not new, just another.

Vector Trancer’s journey continues; re-emerging into the central stream, deep dub glows and woven polyrhythm conjure vital knowledge for protection and expression. Viridis Mantra and outer canopy steam, we’re brought tense rhythm experiments and biospheric reverb – see further excursions in atmos and shades from Touch, Fax, Geometrik, or Ed Handley on a dark one.

ayne/Wayne County's most audacious album is also possibly among the most important albums of its age. Released in 1979 just as the new wave was teetering on the brink of some kind of bold step forward, Things Your Mother Never Told You was one of the sudden shoves which sent it sprawling into its destiny. Electro-punk starts here. Producer David Cunningham takes only a portion of the credit; in years to come he would lead the Flying Lizards into the realm of heavily stylized electronica. But County's songs match his ambitions all the way, from the harsh, grating soundscapes behind "C3"'s muttered imprecations to the soft-spoken paranoia of "Waiting for the Marines," and onto "Berlin," the song that put into words everything David Bowie (among others) tried to convey about that city via image and insinuation. It's not all electro-art smarts, of course. "Boy With the Stolen Face" and the pouting, punishing "Wonder Woman" are archetypal Electric Chairs - a reminder of how, at the band's very best, they could run the Rolling Stones close in the swaggering rock & roller stakes - and the murder mystery "Wall City Girl" could have fallen off a forgotten volume of Nuggets or Pebbles. The title track, meanwhile, doesn't simply seethe with all the promise -- sexual, social, and societal -- which made County the superstar (s)he so very nearly was, it also lets listeners know why no one has ever truly snatched that crown away.

“40 years ago my international career started for real when I got
a call from the musical mastermind Thad Jones, asking me to
join his new big band project Ball of Fire in Milan, Italy.
“Guess if I said yes!
“Since then I have walked winding musical paths and I still do.
“As the pandemic started to spread, I got stranded at home in
Skillinge Sweden from 13 March 2020.
“Many many months later, I can present something I’ve never
done before, a solo performance. Only me, myself and my
trombone in a beautiful-sounding church not far away from
where I live with my wife Beatrice, Ingelstorp Kyrka.
“I do not really know exactly when the idea got stuck in my head
but I guess around Christmas 2020. Having spent a strange but
personally wonderful year being at home, I suggested a solo
recording to my wife, and she thought it was a great idea.
“I called the priest in the church, named Maria, and she
immediately said ‘Yes, go for it. I will see to it that the church is
heated and ready for you.’
“The first time was almost a shock. Such a beautiful sound,
making the tone of my trombone just fly through time and
space. Beatrice and I looked at each other in silence, knowing
that this can become something special.
“I picked a wide range of songs and hymns for these occasions
and it felt very special to be able to record it in a wonderful room
with only one person in the audience, the one I love the most.
“All the songs have a special meaning to me, whether they are
songs I sang in church as a child or just picked them up on the
way. One is even written by one of my ancestors, Israel
Kolmodin.
“They present a side of me that is always there, but not always
to be seen. I hope you like it.
“Love, Nils.” - Nils Landgren

The core of the album is seven songs she wrote in the late 1980s and early ‘90s —“One Way Out,” “As Cool As You Try,” “I’m No Angel Myself,” “For the Last Time,” “Save Myself,” “That Would Be Me” and. “Wild Wild Wild.” Rounding out the set are two other previously unreleased songs, “You Have No Idea” and “Life Goes On,” recorded at an intimate and boisterous 2002 concert at the Roxy in West Hollywood.

These songs bristle with energy and emotion, a rock ’n’ roll edge and personal depth as sharp as anything in her canon. The first seven come from a time in which she was finding her first measures of fame with bolstered confidence and ambition. But it was also before she was ready to be fully open about herself. These songs show her finding her voice, but when it came to it she wasn’t ready yet to say it in public.

“It was an emotional space, a tender sort of place that I was reluctant to go to before I came out,” she says. “So yeah, I did hold back on that sort of thing. And now it was really fun to just step forward and fearlessly present these songs and play them. You know, really being set free.”

In 2013, while working on a proposed box set of archival recordings, Etheridge came across these songs again and found that they spoke to her anew with fresh vantage. A lot had happened in the intervening years. Etheridge had come out, become a parent, risen to status of multi-platinum album sales and top concert headliner, was diagnosed and recovered from breast cancer, won an Academy Award (for her song “I Need to Wake Up” from Al Gore’s climate change documentary An Inconvenient Truth, gotten married, taken on activist roles on various fronts and had continued to record and tour at as fierce a pace as always. With all of that, these songs needed to be given new voice, new settings.

Christmas in the Islands — Shaggy
This quintessential reggae Christmas themed collection puts a Caribbean twist on traditional Christmas cheer. Multiple Grammy Award-winning global reggae/dancehall & pop music icon Shaggy returns with a new holiday album, Christmas in the Islands