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PREDATORY VOID entstand, als Lennart Bossu (Amenra, Oathbreaker) feststellte, dass er Material schrieb, das nicht wirklich für Amenra geeignet war. Da Oathbreaker eine längere Pause einlegten, brauchte er ein neues musikalisches Ventil. Er versammelte eine Gruppe Gleichgesinnter, die in der Nähe von Gent leben, darunter die vielseitige Sängerin und Tattoo-Künstlerin Lina R. Die Band spielte ihre erste Show auf dem renommierten Soulcrusher Festival (NL) neben Bands wie Ihsahn, Envy, Cave In und Heriot, was in der Szene bereits für Aufsehen sorgte. Weitere Shows sind bereits bestätigt, darunter Supports für Amenra und das Alcatratz Festival (BE). Bleibt dran und werdet Zeuge, wie sich PREDATORY VOID entwickelt...

Mit ihrem unverwechselbaren Sound ignorieren As Everything Unfolds traditionelle Grenzen und schaffen durch die Kombination zahlreicher Genres alternativer Musik ein einzigartiges Hörerlebnis. Mit über 20 Millionen Streams für ihr Debütalbum, "Within Each Lies The Other", bleibt ihre Kunst nicht unbemerkt. Die Band wurde für einen Heavy Music Award nominiert, trat auf großen europäischen Festivals wie dem Download, Graspop, Rock For People oder Full Force auf und tourte mit Bands wie Enter Shikari, Wargasm, Holding Absence, Being As An Ocean und vielen anderen. Mit der
Veröffentlichung ihres neuen Albums und vielen weiteren Touren und Festivals in der Pipeline, verspricht 2023 ein großes Jahr für As Everything Unfolds zu werden.

"The new album 'Ultraviolet' is an open work on the thoughts and feelings surrounding us at the time," erzählt Sängerin Charlie Rolfe. "The anger, the frustration, the progress, everything on show, nothing to hide. Darkroom practice is something that has been a large part of my creative path, finding links between the emotion in music, putting everything on display for all to listen and exposing a colour photograph, putting it on display for all to see. Only when you are exposed to Ultraviolet light can you see life in full colour."

Kaizers Orchestra bringen ihre Alben auf 180g Gatefold-Vinyl neu heraus. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. Nach einer Pause brachte das vierte Album begeistert aufgenommene Veränderung. Entstanden in Ostberlin, abgemischt in LA, produziert von dem Kanadier Mark Howard (Bob Dylan, Tom Waits, Iggy Pop), war 'Maskineri' (2008) ein wichtiger Teil des Bandprozesses mit großartigen Songs, der in Norwegen ebenfalls direkt auf die #1 ging.

Kaizers Orchestra bringen ihre Alben auf 180g Gatefold-Vinyl neu heraus. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. Nach einer Pause brachte das vierte Album begeistert aufgenommene Veränderung. Entstanden in Ostberlin, abgemischt in LA, produziert von dem Kanadier Mark Howard (Bob Dylan, Tom Waits, Iggy Pop), war 'Maskineri' (2008) ein wichtiger Teil des Bandprozesses mit großartigen Songs, der in Norwegen ebenfalls direkt auf die #1 ging.

Behold the might of Rodan, the giant monster from the sky! In 1956, Toho unleashed their first colour kaiju picture: RODAN, directed by Ishiro Honda and produced by Tomoyuki Tanaka, is a terrifying tale from the creators of the original Godzilla that sees a giant Pteranodon rise from a deep underground cave after being disturbed by miners. Like the Big G, Rodan has mutated to excessive size after being exposed to nuclear radiation, subsequently soaring free above Kyushu to cause as much mayhem as possible as the JSDF do their best to protect the island from his bloodthirsty rampaging. It was inevitable that the man behind the music of Godzilla would also take on scoring RODAN, and the great Akira Ifukube created a score with a solemn edge as with Godzilla, which makes the music of RODAN fit in the larger universe while allowing it to feel unique to the character. For the main theme, Ifukube introduces a malevolent low piano and brass phrase before cointerpointing it with horns to create a howling menace worthy of Rodan. In contrast, beautiful but melancholy material represents the carnage the monster has brought upon the Earth; in a more upbeat mode, the composer includes another of his jaunty and jazzy marches for the JDSF in the guise of "Get Rodan". It's another Toho triumph from the great maestro Ifukube! (Charlie Brigden)

Ian Hunter, der seit über sechs Jahrzehnten ein Pionier des Rock’n’Roll ist, blickt auf seine musikalische Reise zurück und freut sich auf das nächste Kapitel seiner bewegten Karriere. Bekannt für seine hochkarätigen Kollaborationen mit Künstlern wie David Bowie und Queen, setzt Ian Hunter diese Tradition auch auf seiner neuen LP ”Defiance Part 1” fort. Unterstützt von einem Staraufgebot an befreundeten Legenden, rockt Hunter auf brandneuen Titeln wie ”This Is What I’m Here For” und ”Bed of Roses”.

Anschließend an den Erfolg von The Turning Year, Roger Enos Solo-Debütalbum für die Deutsche Grammophon, im April 2022, fokussierte er sich weiter darauf, sein Repertoire zu erweitern und neu zu erfinden.
Das Ergebnis war eine Mischung aus brillianten Überarbeitungen und bisher unveröffentlichten Juwelen aus den Album-Sessions, die in Form von drei EPs veröffentlicht wurden. Rarities fasst nun die EPs des Komponisten, Piano, Bells und Quartets, in einer Vinyl zusammen und ergänzt das komplette Material mit dem brandneuen Bonustrack „Moving Chords“.

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!

Veteran artist Sebra Cruz releases his debut album ‘Don't Worry Psy Happy’ on DJ Tennis’ revered Life & Death imprint. The daring eleven track LP is as experimental as it is definitive and encapsulates the Italian spirit in perfect style.

The LP follows two previously teased singles; ‘Margaret’, an ode to Cruz’ girlfriend which is a deeply passionate and expressive melodic house offering and album title ‘Don’t Worry Psy Happy’ a hedonistic, tripped out soundscape.
The lead track ‘Sunfish’ is a melange of powerful synths overlaid with sporadic vocals and a swinging breakbeat which make the record the perfect soundtrack for early morning dancefloor euphoria.

The album continues its genreless motif and is hard to pin down. It broaches a variety of styles including cinematic and ambient leaning sonics such as ‘Optimist’ and ‘Poliziesco’, the latter which includes Gabriele Fabbri’s atmospheric guitar riff throughout.

‘The Siebel Road To Mars’ is a similarly powerful yet emotive record which samples current Italian President Sergio Mattarella between the piano and the extraterrestrial sound palette. Continuing with the more abstract tracks ‘Flying Junior’, which was named after Cruz’ own sailboat, emulates the peacefulness and tranquillity of the sea. It’s yet another reflection of Sebra Cruz’ artistic personality.

Juxtaposing the calm and serene records from the album, ‘AltreCose’, inspired by the energy of the Neapolitan people during Sebra’s DJing residency in the 90s, is a more high energy disco-infused record. Similarly ‘When Life Was Slow’, released on Life & Death back in 2020, is another upbeat dance interpretation and a tribute to Cruz’ passion for Italian composers from the 60s and 70s.

Speaking about the album Sebra says: “What emerges is in my opinion an album with predominantly Italian spirit, disco, house with both edgy and gentle influences. I never decide what to do first, I simply follow my spur of the moment instinct. Releasing an album for Life & Death is cool because I've always had huge respect for Manfredi.”

Sebra Cruz and DJ Tennis have a long lasting and trusting collaborative relationship exhibited by the former's numerous releases on Tennis’ Life and Death label. DJ Tennis’ encyclopaedic musical brain and shared passion for Italian composers perfectly complements Sebra’s stylings.

Striking an impeccable balance between abstract and obscure sonics and more methodical and conventional melodies, 'Don't Worry Psy Happy’ is a body of work that exquisitely expresses Sebra Cruz’ personality via different worlds and mediums.

Die Kult-Ambient-Black-Metal-Pioniere DARKSPACE (bestehend aus Mitgliedern von Paysage d'Hiver + Sun of the Blind) veröffentlichen jetzt ihre komplette Diskographie, die vier Alben und eine EP umfasst, auf CD über Season of Mist!


Das rätselhafte Schweizer Trio, das als "The Most Mysterious Anonymous Blackest Black Metal Band" bezeichnet wird, ist bekannt für seinen hypnotischen und jenseitigen Sound, der den modernen atmosphärischen und kosmischen Black Metal, wie wir ihn heute kennen, stark beeinflusst hat. Die Band wird zu einem späteren Zeitpunkt ein brandneues Album über Season of Mist veröffentlichen!



Für Fans von: PAYSAGE D'HIVER, SUN OF THE BLIND, ARKHTINN, OMEGA INFINITY, ALRAKIS

Die Kult-Ambient-Black-Metal-Pioniere DARKSPACE (bestehend aus Mitgliedern von Paysage d'Hiver + Sun of the Blind) veröffentlichen jetzt ihre komplette Diskographie, die vier Alben und eine EP umfasst, auf CD über Season of Mist!


Das rätselhafte Schweizer Trio, das als "The Most Mysterious Anonymous Blackest Black Metal Band" bezeichnet wird, ist bekannt für seinen hypnotischen und jenseitigen Sound, der den modernen atmosphärischen und kosmischen Black Metal, wie wir ihn heute kennen, stark beeinflusst hat. Die Band wird zu einem späteren Zeitpunkt ein brandneues Album über Season of Mist veröffentlichen!



Für Fans von: PAYSAGE D'HIVER, SUN OF THE BLIND, ARKHTINN, OMEGA INFINITY, ALRAKIS

Formed in the bygone barren period for British rock music that were the nascent
2010s, The St Pierre Snake Invasion have consistently shown themselves to be
an unapologetically creative force.
The long gap between debut album, A Hundred Years A Day (October 31st 2015)
and the release of underground sophomore smash Caprice Enchanté (June 21st
2019) was something the five- piece were reticent to repeat, but circumstance
beyond the Bristolians' control dictates that third LP, Galore, comes to us in a
markedly different world than the one in which St Pierre were building their
reputation and acclaim.
Sayell himself has been adamant that this latest offering would not be a COVID
album. He did not want it to address the ubiquitous isolation of global lockdown.
It immediately would date the record to a fixed point in time and not allow its
ideas to flourish and find a receptive audience for a continued period. Instead, the
changes represented in Galore are so fundamentally powerful and relatable to the
human condition. It is an album centered around universally resonant themes of
growth.
The summer of 2021 saw the birth of Sayell's first child. The concurrent writing of
the band's third LP has, naturally, been greatly informed by the experience of
impending fatherhood. Wondering about one's own impact on a life that you have
been a part in creating, the anxieties of what will be passed down to another
generation, and reflections on garnered wisdom with age; these are the key
themes that bring us to the band's magnum opus to date.
Alongside these introspective lyrics, the band's sound has taken on new life.
Where Carprice Enchanté was primarily informed by the musicality of Every Time
I Die, The Chariot, Refused and Mclusky, Galore builds on this framework by
incorporating influences as disparate as LCD Soundsystem, Soulwax and
Meshuggah into a coherent and daring whole. A song like That There's Fighting
Talk sees seething aggression taken to a mathcore nightclub, while the title track
and Apex Prey see the band exploring looser, quieter melodicism alongside Sang
Froid's Aisling Whiting, who brings a stake dynamic counterpart to Sayell in a
beautiful and captivating performance.
There are still tracks reminiscent of the band's previous work, such as
Submechano and Sleep Well - the latter featuring a sterling guest appearance
from Sugar Horse's Ashley Tubb - in which we hear the brash punk attitude St
Pierre's ever-growing fanbase adore. But ultimately, from the opening syncopated
notes of Pete Reisner's percussion and Sayell's distinctive vocals on Kracked
Velvet, it's impossible not to hear the palpable shift to another echelon of artis

'Out Front' is the greatest realisation of trumpeter Booker Little's scope as
a musician and composer, this brand new reissue is available on CD and
LP (180g), and has been remastered from the original Candid master
tapes by Bernie Grundman
It is also one of only five sessions led by Little as a band leader before his
premature death at the age of 23 in 1961. Arguably, the seven original
compositions here might be more widely known today had his life not been so
tragically cut short. Little is mostly known for his work with Max Roach, who he
began playing with as early as 1955.
The sextet on these dates include the great Max Roach on drums, Eric Dolphy on
reeds, and Julian Priester on drums.
4 star Jazzwise review

PNFG is thrilled to be taking you all on a road trip to Greater Manchester
where we will unlock the vinyl releases of one of the early nineties best
kept secrets - Raintree County sounding every bit like they hailed from a
city 200 miles further north and from 10 years earlier
They released one LP and one EP in their short life. Both stunning examples of
guitar based pop.We will bring you a double album featuring both albums,
tastefully remastered and housed in a brand new Gatefold Sleeve with cover art
from Fraser Taylor.

Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70's right through to the present day.

In 1979 the band's first Milestone Records release, 'Light As A Feather' quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single 'Jazz Carnival' and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks.
An incredibly well thought out album both in pace, song selection and musicality, 'Light As A Feather' marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece.

Now Far Out is pleased to present this seminal recording remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth, lovingly reproduced on heavy weight vinyl and CD. This definitive edition of Azymuth's breakthrough LP is a must-have for connoisseurs and an invaluable introduction to the Azymuth sound for the uninitiated.

Sadly with this re-release album well into production at the untimely recent passing of Jose Roberto Betrami, 'Light as a feather' stands as a solemn reminder of our dearly departed friend and the effortless musical genius of Azymuth in their ascendancy.

30 years after... their first record !!!!

More low slung house tracks with a twist from the unpredictable and unparalleled brain that roams the dunes of the Hague. Also responsible for Salamandos, Squadra Blanco, Polarius and a swath of other mysterious aliases. Part 2 in Legowelt's latest project "Hermit in a Rave Cave".

RUN THE JEWELS haben ihr Hit-Album "RTJ4" durch das Prisma Lateinamerikas neu interpretiert. Mit dabei sind Bomba Estéreo, TROOKO, Baco Exu do Blues, Lido Pimienta, Akapellah, Iggor Cavalera, Sarah La Morena, Danny Brasco, Santa Fe Klan & mehr. Künstler aus 10 LATAM-Ländern - Produzenten, Rapper, Sänger, Musiker, Programmierer - beteiligten sich an der Schaffung dieses
hybriden, bahnbrechenden und zukunftsweisenden Projekts.

”Soul Insight” wurde ursprünglich im Oktober 2015 veröffentlicht und ist das Debüt des jungen SingerSongwriters Marcus King. Das Album zeigt seine atemberaubende Beherrschung von Rock, Blues, Psychedelia, Funk, Soul und Improvisation - alles mit einem musikalischen Südstaaten-Akzent. Es war auch das Album, das den damals 19-Jährigen seinem musikalischen Schicksal einen Schritt näher brachte.

Es ist das erste Mal, dass ”Soul Insight” auf CD und Vinyl außerhalb der USA offiziell erscheint, und es ist das erste Mal, dass das Album vollständig als Doppel-Vinyl überhaupt veröffentlicht wird.
Ein Muss für alle Fans!

”Ich glaube, ich wusste, dass ich zum Gitarrenspielen geboren war, als ich sieben war”, sagt King. ”Damals bekam ich meine erste E-Gitarre, und während alle anderen Kinder draußen spielten, war ich drinnen an der Gitarre. Wenn ich in der Schule Ärger bekam, sagte mein Vater, ich könne wählen zwischen einer Tracht Prügel und dem Wegnehmen meiner Gitarre für eine Woche. Ich nahm die Tracht Prügel.”

An intergenerational meeting of minds, Galaxy is the first collaborative EP from Meanjin, Brisbane musicians Sam Poggioli aka Sampology and Charlie Hill. Equal parts brain dance and body music, Galaxy’s seven tracks represent a vivid intermingling of 70s jazz-funk, fusion, machine-funk, Latin house and broken beat, accented by flourishes of minimalist composition. Considered as a whole, it evokes the possibility and potential of a space-age future where technology and nature exist in simpatico.

One of the most in-demand young jazz drummers in the Meanjin (Brisbane) music scene, Charlie started producing electronic music on his laptop three years ago. It was a vibe shift that hit him after several months spent immersing himself in Europe’s jazz and electronica scenes on the eve of the global coronavirus pandemic. After returning home, he approached Sam about recording some music together.

Sam, a well-travelled Australian DJ, producer and Worldwide FM radio host, was cautious about starting a new side project. However, when he heard his demos, he realised Charlie was blending rhythmic fundamentals he’d learned while completing a music degree with a beautifully wide-eyed approach to jazz-tinged electronica.

With Charlie on drums and Sam on MPC, they set about recording the songs on Galaxy, along the way discovering Sam’s mother taught Charlie visual art as a child. They also learned that Charlie’s mother plays with Sam’s father in the Queensland Symphony Orchestra, synchronicities which made their collaboration feel like it was meant to be.

As part of the Galaxy sessions, Sam and Charlie collaborated with fellow Australian vocalists Tiana Khasi and Merinda Dias-Jayasinha. On ‘Constant Call’, Tiana threads neo-soul/modern soul melodies through a backdrop that sounds like Burial on a future jazz tip. ‘Merinda’, on the other hand, sees Merinda laying a repeated Steve Riech-style vocal refrain over a man/machine instrumental accented by stargazed synths.

At the same time as they were creating Galaxy, Charlie was also busy recording his debut solo EP Yore, both of which are due for release in August 2023, respectively, through Middle Name Records.

Stones Taro returns to Scuffed with three new UK-tinged tracks, backed by a remix from Tim Reaper.

A trio of tracks inspired by ‘90s rave mark Roberto Capuano’s first Drumcode offering in two years.

The Napoli-born DJ, producer and sound designer has been a semi-regular contributor to Adam Beyer’s labels stretching back almost a decade. From the Inner City-referencing ‘Vertigo’, to the elegant techno on ‘Wilford’, part of DC150th release, and the 2020 collab ‘Mad World’ with good friend Luigi Madonna, his tracks have always been characterised by impeccable quality and a timeless sonic palette. Reinforcing his breadth, he’s also responsible for one of Truesoul’s greatest tracks to date, thanks to the 2015 classic ‘Never Stop’.

‘When The Lights Go Down’ EP continues the brain scrambling techno approach he displayed on ‘Mad World’, with all cuts featuring throughout the summer, including supports at Tomorrowland, Awakenings ADE, EDC Vegas, and Movement Detroit.

Reinhard Lakomy: Mimmelitt, das Stadtkaninchen
Eine poetisch-komische Geschichte darüber, dass nicht alles, was alt ist, auf den Müll gehört. Manchmal fehlt eben nur ein bisschen Schmieröl, ein bisschen Farbe, ein bisschen Hilfe.
Das gewitzte Stadtkaninchen Mimmelitt erfährt, dass sich in der Stadt ein quietschendes Geheimnis aufhalten soll, ein Eisengeist. Die Neugier und trotziger Mut helfen Mimmelitt, dem Geheimnis auf die Spur zu kommen - mitten in der tiefen Nacht: Es ist ein alter geschmiedeter Wetterhahn, der kummervoll durch die Neubauten irrt. Keiner kann ihn mehr gebrauchen. Mimmelitt lädt den "Ritter Adalbert" auf seine Kaninchensuperkiste und braust mit ihm durch die Stadt. Er weiß, wo dem Ritter geholfen werden kann. Am Morgen schließlich hebt der lange Hannes den frischgestrichenen Wetterhahn auf das neue Schulhaus. Nun wird er jeden Morgen die Schulkinder begrüßen.
Ein Geschichtenlieder-Hörspiel für Kinder ab 4 Jahren

After Joao Selva, Dowdelin, The Bongo Hop, Underdog Records continue their exploration of the Black Atlantic with IREKE.Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches

IREKE

Ireke? Sugar cane in Yoruba. Like her, the duo loves tropical climates and intoxicating rhythms, quick to liberate the bodies gathered on a dancefloor. Afrobeat urgency, funk suppleness, dub alchemy, highlife jubilation: with Tropikadelic, Ireke summons the heritage of the masters and the audacity of machines to give life to new sonic territories. At the crossroads. For the love of groove.

From the West, with their ears to the Black Atlantic, Julien Gervaix and Damien Tes- son are both children of the collective and of improvisation, playgrounds for these complete multi-instrumentalists.

The first one puts his talents of arranger-saxophonist at the service of the Nantes collective Soulshine and of numerous formations - in turn funk or rhythm’n blues - where swinging is the rule.This is notably the case of the afrobeat group Walko, in which Julien Gervaix had the honour of sharing the stage and the studio for several years with Kiala Nzavotunga, guitarist extraordinaire for Fela Kuti and Egypt 80. Meanwhile, Damien Tesson was being trained as a dubmaster-guitarist-arranger at the reggae roots school with the digital option of the Vendée collective Shi Fu Mi Temple.This initiation led Damien Tesson to join, among others, the Nantes-based group BIBA (Bingy Band) and then to collaborate with Jideh High Elements, a key figure on the international dub scene, Roberto Sanchez and the team of his Lone Ark Studio, as well as Sana Bob, a famous reggae singer from Burkina Faso.And then, life being well done, the paths of Julien Gervaix and Damien Tesson ended up crossing within the jazz-funk combo Playtime, before meeting again in the Vendée a few years later.

With an obvious tropism for Afro-Latin grooves, tropical colours, electronic tricks and furious swaying, the two musicians create Ireke like a glass of well arranged rum. Here’s to us, here’s to you! As if guided by the spirit of the plant, Ireke toasts the immense richness of these danceable rhythms, true generators of life, connection and energy.

Like Legba, the Yoruba orisha of intersections and crossroads, Ireke thrives in the between worlds.Aware of the lineage of goldsmiths who preceded them, Ireke

knows his classics and humbly draws inspiration for Tropikadelic from the musical genius of Pat Thomas, Poly-rythmo Orchestra, King Tubby,Tony Allen, Fela Kuti, Maître Gazonga, Ernesto Djédjé or the Vikings of Guadeloupe. Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches patiently flushed out in the studio - which the duo considers as an instrument in its own right.

Finally, to give voice to his compositions, on Tropikadelic, Ireke calls upon an army of serious enthusiasts, each member of which has come up with his or her own lyrics. Thus, alongside Ireke, we find the groove griot Pat Kalla (“Femme qui Danse”,“Love Is Jokin”), the Franco-Laotian reggaeman Amatah Keo (“Man Bo Diak”), the Vendée- based Agnès Hélène (“Petit à Petit”,“Oh Ma Chérie”) and Charly Sanga (“Bas Les Masques”,“Oh Ma Chérie”), the Burkinabè lion Sana Bob (“Métissage”) as well as the Nantes soulman Jy Cooly (“Kinkeliba”).

For the duo, music is above all a collective practice, an active liberation, a rhythmic approach to letting go, a source of communicative joy... In short, groove is the weap- on! And Ireke knows how to use it.

When Leon Michels and El Michels Affair released their fi­rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented “cinematic soul” sound. Now, four EMA studio albums and scores of tribute and remix projects later all while producing for some of the biggest names in the industry Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew.

Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two fi­rst met in the 2000s when Thought was fi­rst getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective Dave Guy on trumpet and Ian Hendrickson-Smith on sax are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy."

Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production".

For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people’s music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new.

The result is an organic feel of loop-based tracks that breathe and fluctuate enough for Black Thought to ‑ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories and distinctive.

Beloved Rio de Janeiro veteran producer and live act, Fabio Santanna, brings his heady take on the tropical flavors of modern Brazil on Onda Boa’s second release, a pulsating double-sider that serves as a loving tribute to two giants of Brazilian boogie, Marcos Valle and Lincoln Olivetti. “Ao Som De Marcos Valle" kicks things off with a mix of organic elements layered alongside synths and Rhodes that Master Marcos himself would approve of, with lyrics that slyly reference some of Valle’s most iconic moments from his 80s boogie period. Razor N Tape’s Jkriv turns up the heat even further on his remix, bringing a touch of that NYC fire to the already sultry beaches of Rio.

“Chega Mais Lincoln” on the flip applies the lessons learned from “O Mago do Pop”, Lincoln Olivetti, utilizing sophisticated synth arrangements over a delicious mid-tempo groove and a vocoder calling out in praise… "Lincoln!”. Joutro Mundo’s remix takes things into dubbyer territory with his trademark approach to dance music that carefully balances tropical bliss with swirling, synth-thetic psychedelia, capping off an epic sophomore 12” for the label that manages to occupy the spaces in-between cosmic disco, tropical balearica and modern boogie… and always with that unmistakable Brazilian swing.

Toronto-based retro-soul artist Claire Davis shares her journey of self-worth and love on her debut album "Get it Right", out April 21st 2023, via LRK Records. This lively 10-track analog soul LP was recorded to an 8-track tape machine by engineer Braden Sauder in a converted garage- studio in Toronto, owned by the renowned instrumental jazz/hip-hop group, BADBADNOTGOOD. Featuring some of the city's top-flight musicians in the R&B/Soul scene, the album was laid down live-off-the-floor in one week during the winter of 2022. Davis shares, "My heart really lies in live performance so I wanted to recreate that experience as much as possible for this record by having the musicians all record together to tape. I feel like I personally thrive under the limitations that tape gives you; it offers the opportunity to
capture a vibe of a performance more so than chasing perfection. Knowing that my favourite soul records were recorded this way gives me an even deeper appreciation for the skill and talent involved in this process." "Get it Right" is a record born out of the faith that there's better things on the other side of fear.
Whether that's breaking toxic cycles or being truly honest about what is and isn't working in life. The first song written for the record was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. "The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work. I'd like to think that it's a love
song with a strong sense of maturity and understanding to it. And the whole record was really shaped around that idea of my relationships and experiences stemming from my own sense ofself-love add my desire to live and create from an authentic place."

The songs on the album feature co-writes from Scott McCannell, Kyla Charter, and Toronto production house Safe Spaceship Music, in addition to horn and background vocal arrangements by composer La-Nai Gabriel. Musicians include Heather Crawford on guitar,
Scott McCannell on bass, Adrian Hogan on keys, Chino de Villa on drums, Juan Carlos Medrano on percussion, Aphrose, Tegan Michelle Gordon and Chynna Lewis on background vocals, and horn section The Northern Soul Horns.

"Get it Right" follows up Davis' most recent 7" vinyl release of "Long Gone"/ "Times Have Changed" and most recent single release "Intuition" on LRK Records Huey Morgan played "Times Have Changed" on " The Huey Show " on BBC Radio Six
Tune of the week on David Bishops Street Sounds radio.
Karen Gabay played "Intuition" taken from the album on "The People" BBC Manchester

Easily one of the greatest roots reggae albums of all time, Soul Rebels resulted from the intensive partnership brokered by the group and maverick producer, Lee 'Scratch' Perry. It was the first Wailers 'concept' album, conceived as a long-player based on a rebellious theme, rather than a collection of isolated singles, and the presence of the Barrett brothers in the rhythm section pointed the way for greater glories to come. The Wailers first formed as an unruly five-piece in 1963, with Junior Braithwaite as lead singer and Beverley Kelso an early member, sometimes replaced by Cherry Green. During their long tenure at Studio One, Bob Marley gradually shifted to the lead vocal role and the robust core of Marley, Peter Tosh, and Neville Livingston, aka Bunny Wailer, soon emerged as the mainstays of the group. Perry was involved with the Wailers at Studio One, using their talents for backing vocals on some of his solo work, but the partnership that yielded Soul Rebels was in an entirely different league. The title track, Tosh's anguished "400 Years and "Corner Stone" are legendary for their intense power; "It's Alright" set the template for the later "Night Shift," "My Cup" was an individual barebones reading of James Brown's "I Guess I'll Have To Cry Cry Cry," while the playful "Try Me" and "No Water" are suggestive odes. Tosh's dejected "No Sympathy" and the spirited "Soul Almighty" are other winners and the "Cloud 9" revamp "Rebel's Hop" is another joy. All killer, no filler!

DMX Krew announces his return to Peggy Gou's Gudu Records with a new four-track EP, sharing the dreamy, Detroit-inspired title track, ‘Return to Jupiter’.

The full EP - out 14th April 2023 - will be his second release for the label and Gudu’s first release of 2023, set to be the label’s busiest year yet.

Ed DMX made his debut for Gudu with 2019’s Don’t You Wanna Play? EP, becoming the first artist to release on the label outside Peggy herself. Ed and Gudu have retained a regular working relationship ever since: he mastered Indonesian crate-digger Dea’s ‘Glazer Drum’ release for Gudu, contributed a pair of remixes to the reissue of Riff’s South African electro curio ‘Jacks Jive’, and now returns to the label with Return to Jupiter, a new original four-track EP.

Ed has been one of electronic music’s most respected faces for over 25 years. Debuting in the mid-1990s, he released his first decade of music almost exclusively through Grant Wilson-Claridge and Aphex Twin’s Rephlex label and his own Breakin’ imprint, but recent years have seen him ply his trade across a who’s who of dance music’s most respected underground labels: including Hypercolour, Balkan Vinyl, Central Processing Unit and, of course, Gudu.

Inspired by the futurist funk and vivid synthesiser epics of classic Detroit, ‘Return to Jupiter’ is dripping with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define Ed’s catalogue. The EP’s title track sets the tone for what’s to follow, introducing a language of sorts for the record - before ‘Altered Chords’ turns the funk up to 11, ‘U Ain’t Down’ aims its distorted kicks and wiggy, manipulated lead straight at peak time dancefloors, and ‘I Love Juan’ closes the EP on a star-gazing tip.

Founded by Peggy Gou in 2019, Gudu releases music from a global roster of artists, including DMX Krew, Maurice Fulton, Hiver, Dea, Mogwaa, Brain de Palma, Dukwa, JRMS and Peggy herself (including the hits ‘Starry Night’, ‘I Go’ and ‘Nabi’). 2023 will see Gudu’s busiest year to date, with new releases scheduled from the current roster and some exciting new faces.

Bjarki launches creative hub Differance Engine with new four-track EP, ‘Look At Yourself Pt.1’

The project sees the founder combine with creative Thomas Harrington-Rawle, building on the pair's recent AV show ‘Look At Yourself’ with a wealth of new projects and releases slated for 2023.

DJ, producer, live artist and label owner Bjarki, full name Bjarki Rúnar Sigurðarson, launches his latest creative project Differance Engine and label Differance with a brand new EP in February. Welcoming a new home for the Icelandic favourite to release and showcase audio-visual projects, the creation of Differance Engine sees him reunite with London-based creative and partner-in-crime Thomas Harrington-Rawle - the creator of Care More, featured on Nowness, ARTE and more.

Set to become the central focus for all things creative, Difference Engine will serve as a diverse ‘mother hub’ for a myriad of new projects from the pair, including GUM Magazine - an experimental print publication set to challenge existing publications and zines with a focus real conversations and forward-thinking audiovisual work - while also absorbing Bjarki’s longstanding imprint bbbbbb recors next year. The launch arrives on the heels of the duo's recent conceptual audiovisual show ‘Look At Yourself’ exploring and experimenting with ‘AI’ technology during ADE at Amsterdam’s renowned Nxt Museum, with forthcoming appearances in Foligno, Italy on 29th December and in London in the New Year.

Opening 2023, the label boss unveils the first EP in a three-part series, ‘Look At Yourself Part 1’. Comprised of four expansive originals, the release welcomes a first look at the new audiovisual direction crafted and shaped by Sigurðarson and Harrington-Rawle, featuring his recently released single ‘Do You Like Yourself’, and new single ‘I Wish I Was A Mode’ - out 9th December..

“Differance Engine is mine and Thomas’ new platform where we will be testing out all kinds of material. It will also operate as a label and an engine which will run both bbbbbb records and GUM Magazine. There are a lot of magazines dying out and having a hard time surviving. Thomas and I want to show some depth into the hearts and minds of individuals through music, visuals and with words. 2023 will be the year of vulnerability and real talks.” - Bjarki.

Wandering the line between perceived and actual reality, the four productions balance playful AI-generated voices with darker sonics, deconstructing societal issues and exploring human-to-human interaction within cyberspace. Accompanied by a warping video, B2 ‘I Wish I Was a Model’ is a trippy dive into Harrington-Rawle’s ever-evolving world as he warps and twists human subjects amongst their surroundings.

Brand new release from french dub label All Nations Records. It features artists from Japan, Chazbo and Jah93, which combine their talents to deliver a soulful and powerful track.

Batmobile is founded in 1983 by Jeroen Haamers, Johnny Zuidhof and Eric Haamers. They’re considered the seminal Dutch psychobilly band and celebrate their 40th anniversary in 2023. To mark this milestone, they present their 15th studio album, entitled Brace For Impact, which features 13 killer tracks. Grab yourself a Batmobeer and brace for impact!

The cover artwork is created by the illustrator and designer Pieter
M. Dorrenboom, who has worked with Batmobile before.

BraceForImpact is available as a limited edition of 750 individually numbered copies on crystal clear vinyl.

Spawning from the Manchester music scene in 2008 and now sucking in members from all over the UK, the Riot Jazz Brass Band is a nine-piece genre-mashing, foot stomping party behemoth bringing the love buzz to ears and feet all over the world

New album RIOT JAZZ MAKES PEOPLE HAPPY is the culmination of a 15- year mission to spread joy and get people moving. With three trumpets, three trombones, sousaphone and drums bringing the noise and MC Chunky conducting the chaos, the result is a gleeful cacophony encompassing jazz,hip hop, drum 'n' bass, trap, grime and more.

The intoxicating sound and spirit of the Riot Jazz Brass Band, as well as its deep commitment to exploring all sorts of musical genre, has seen it tapped to collaborate with a variety of top artists and play at festivals across Europe.

One of the most established festival bands on the circuit with appearances at Glastonbury (West Holt Stage), Womad (Big Top), Jazz Sous Les Pommier (France) to Soundwave (Croatia) and everything in between. Recent UK tour last April/May all across the country.

Joel Vandroogenbroeck was an arranger, conductor, producer and, above all, a unique multi-instrumentalist in the world of music. The Belgian artist was also famous for being the only permanent member of the group Brainticket and the main promoter of its creativity, often renewed with the contribution of exotic instruments. At the dawn of the Seventies, this versatile musician began a parallel life as a composer of singular music libraries tailored to comment documentary images. “L'Immagine Del Suono” was one of them, originally released by Italy's Flirt Records and now repressed on vinyl
by Musica Per Immagini for the first time. This album circulated, however, unnoticed in a limited number of copies among insiders, only rediscovered later by fans, thus raising Joel Vandroogenbroeck as a real pioneer of ambient and new age music.

It is appropriate to consider the twelve short-lived pieces of L'Immagine Del Suono” as a sort of continuous and visionary experiment, with the addition of electronic gasps, a strong dose of inevitable psychedelia, fragments of synthesized jazz, all coming from experiences both internal and external, hallucinatory and hedonistic. All of this combined creates a mysterious and abstract hybrid. Sonic raw material is sculpted with artisanal care, at times twisted and cryptic, characterized by a transversal irony, to the point that the interference of rock elements in the course of the set divert the listener's attention and momentarily interrupt the flow of consciousness. “L'Immagine Del Suono” is a concentrated example of the avant-garde, free from categorisation of any kind, developed in a non-commercial key and, equally, is drawn from a direct line via what was previously expressed within the folds of the then contemporary works of Brainticket.

Zach Braff’s curated compilation soundtrack album for the upcoming drama film A Good Person. Written and directed by Braff, the film’s compilation soundtrack features a range of wistful folk-infused songs, including The Velvet Underground’s iconic 1969 song After Hours, written by Lou Reed and performed by the band’s drummer Moe Tucker, Bristol-based singer-songwriter Fenne Lilly’s 2021 track Hyopcondriac, American singer-songwriter Lizzie McAlpine’s 2020 song To The Mountains, American indie rock singer-songwriter Cary Brothers’ 2022 song Stardust, performed in the film for Allison (Florence Pugh) by Cary himself, and more (see full tracklisting below). The compilation soundtrack also features two brand new singles written and performed for the film by Florence Pugh. I Hate Myself and The Best Part.

Repress!

Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG.

It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists' Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester's younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group's own label.

Since the formation of Black Artists' Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

In June 1969, the Art Ensemble of Chicago had taken their music to France. During the preceding decade Paris had established a reputation for audiences that were unusually well-informed and open-minded, receptive to the uncompromising music of black American innovators such as Cecil Taylor, Ornette Coleman, Albert Ayler and Sun Ra. The city that had nurtured not only Cubism and Surrealism, but also Jean-Luc Godard and contemporary cinema's Nouvelle Vague was well prepared for the sonic collage forms and stylistic dislocations of the Art Ensemble. During that same month violinist Leroy Jenkins, trumpeter Leo Smith and saxophonist Anthony Braxton also arrived in Paris, three further emissaries from the AACM.

The adventure of collective improvisation resonated with the Parisian zeitgeist. Enthusiastic audiences attended their concerts and coverage in the media. In Paris, Aries 1973 offers an isolated and fascinating glimpse into that phase of the group's existence. The album is dedicated to the memory of Kada Kayan, a bassist who had hoped to make the trip from St Louis to France but, tragically, had grown ill and died. His absence adds special poignancy to the sound of the bass when it appears on this recording, played by Baikida Carroll. Listeners keen to hear Kayan himself in the company of Lake, Bowie, Shaw, LeFlore and Carroll should seek out Red, Black and Green by the 10-piece Solidarity Unit, Inc. That album, recorded on 18th September 1970 and dedicated to Jimi Hendrix, who died on that day, features an earlier version of Shaw's composition 'Something to Play On.'

In Paris, Aries 1973 reveals BAG's musical affinities with the Art Ensemble of Chicago. Both groups preserved an independently minded approach to the notion of free jazz and a carefully filtered awareness of pan-African musical practices, while their creative interest in space, mobile structure, chance occurrences and simultaneity also suggests parallels with the concerns of leading experimental composers working at that time. These performances in Paris of Shaw's 'Something to Play On' and Lake's 'Re-Cre-A-Tion,' plus two collective compositions/improvisations, display the dedication to structural fluency and sensitivity to coloration that accompanied BAG's unorthodox group dynamics and their unconventional instrumental combinations. In this case the musicians embrace congas, log drums, marimbas, woodblocks, cowbells and gongs. This is not a showcase for solos, but a shape-shifting and multi-centred statement of togetherness, quest and discovery. Removed from BAG's original multidisciplinary context the music still exudes an exhilarating spirit of collaborative exploration and shared excitement.

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.