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RTJ3, the third outing by the firebrand rap duo of Killer Mike and El-P, features a cadre of talented guest performers, including Zach de la Rocha, Danny Brown, Tunde Adebimpe of TV On The Radio, Kamasi Washington, and more. The album is "essentially the Run the Jewels manifesto, an outpouring of rage and defiance that never loses sight of the objectives: rallying the troops, holding all accountable, and toppling oppression." (Pitchfork)

Released on Christmas Day 2016, the album charted in 11 countries, with its breakout hit from the album, "Legend Has It", being featured in the Super Bowl advertisement for the global blockbuster feature film "Black Panther". Embraced by fans and critics alike, it's received praise for its near-perfect execution as well as its sharp, visceral observations, blistering beats and superb guest artists, cementing RTJ as one of the most important artists of its era.

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

The songs that grace this comprehensive double vinyl package all come from the golden age of country music. For nearly a century now, country music has been captured on cylinder, vinyl, tape and compact disc. In America during the 1950s, while rock & roll battled calypso as the nation’s favourite sound, meanwhile in the background, these classic country songs could be heard across the land - all the way from the Gulf of Mexico, right up to the frozen wastes of Minnesota. After the golden age of what might be called pure country, came country-rock, alt-country and Americana. But the century of songs gathered together here is plain and simple country music - at its best

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to KMRU when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. KMRU had lent a valuable ear to Blake, who sent early playlists of 'NSIS' that, over the months, slowly evolved into the finished album. It's the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with KMRU's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to KMRU when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. KMRU had lent a valuable ear to Blake, who sent early playlists of 'NSIS' that, over the months, slowly evolved into the finished album. It's the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with KMRU's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

Captured Tracks brings listeners the demos of Mac DeMarco's latest mini LP, Another One, as a limited Record Store Day Release,! Over the past few years we have watched Mac develop from a cult artist, to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales, and sold out tours all over the world, Mac stands as a true role-model for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings, and honest hard-earned acclaim. These recordings give an intimate view into the world of Mac DeMarco like never before, taking listeners back to the roots of Mac's writing and recording straight from his own bedroom izz-Jazz' studios. Filled with lofi fuzz built upon foundations of infectious pop melodies, this collection of songs showcases Mac DeMarco in his truest form. This 16-song LP, as opposed to the 8 songs available on Another One, is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

Demos of Critically-Acclaimed Album, 'This Old Dog'. Captured Tracks brings listeners a selection of demos - one of which was previously left on the cutting room floor - and instrumentals from Mac DeMarco's latest LP, This Old Dog, as a limited Record Store Day Release. Over the past few years we have watched Mac develop from a cult artist to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales, and sold out tours all over the world, Mac stands as an inspiration for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings and honest hard-earned acclaim. These recordings give an intimate view into the world of Mac DeMarco, taking listeners back to the roots of Mac's writing and recording straight from his own bedroom izz-Jazz' studios. Old Dog Demos, a 15-song LP that is divided into Demos on Side A and Instrumentals on Side B, is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12" just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman's already impressive slough of cassette-only releases. The sincere and warm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned "Baby's Wearing Blue Jeans" and that suited him and his listeners just fine. Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, "2" is a concerted effort to produce a cohesive work that showcases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind of Woman." It's obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood," Mac's apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: Mac DeMarco has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip. This Old Dog makes for his fifth in just over half a decade_bringing the total to 3 LPs and 2 EPs. According to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks. It was a little space_in time, location, and method_that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop_complete with a few new toys_that the gap was giving him perspective (insert tooth joke here). Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic strums on the album-opening "My Old Man," the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly," says DeMarco. Despite the changes considered during the creation of This Old Dog, Mac DeMarco's mid-twenties masterpiece, it's clear that the engine that motors him is in no danger of slowing down.

Forging his own path into the future... With roots in the U.K. club and hip-hop scenes, drummer Richard Spaven brings a fresh approach to the instrument that's at once modern and traditional. Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Spaven's drumming has landed him gigs with vastly varied artists such as UK rapper Loyle Carner, Guru of hip-hop duo Gang Starr, producer Flying Lotus, vocalist José James and Brainfeeder artist Jameszoo. Spaven's brilliance is evident beyond his world-class performance abilities; he's equally impressive in production and compositional territories.


Sole Subject, a captivating crossover of electronica, hip hop, and jazz, explores the nuanced relationship between live drumming and electronic elements, a theme intricately woven throughout Spaven's sixth solo record. Originating from deep, rhythmic ideas, each track is a testament to intense experimentation and precision. At the core of the album are the drums, captured as full live takes which often blur the lines, appearing as if they were programmed or sampled. Dive into Sole Subject and experience a musical journey where innovation meets tradition, and where each beat tells a story of relentless creativity and dedication. The release of the record will be celebrated with a headline show at Jazz Café October 30th.

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

In the age of streaming platforms and social media, stimulation is easy to come by. Real pleasure, however_the kind that feeds our soul rather than draining it_is in shockingly short supply. The second LP by THUS LOVE is full of that kind of nourishing euphoria. It swoons, shakes, and swaggers with a combination of grit and sensuality that's been hard to locate in music lately. It's called, fittingly, All Pleasure. The album came out of a period of dizzying growth and transformation for the group. When they began work on it, vocalist/guitarist Echo Mars and drummer Lu Racine were still reeling from the runaway success of their 2022 debut Memorial_a set of lush, elegant post-punk that brought praise from The FADER, the NME, and the Guardian_along with processing the departure of the founding bassist. With All Pleasure, the band re-formed with new bassist Ally Juleen and guitarist/keyboardist Shane Blank. The group convened in a barn in the woods that Mars had transformed into a recording studio, and kept one rule at the forefront: "If it's not joyful, don't do it." What emerged from that mission is a stunningly gorgeous album, full of big, arcing melodies and a range of kinky stylistic twists that will surprise listeners who know the group just for Memorial's chorus-drenched 80s-style psychedelia. "Birthday Song" gives grungy glam rock with a transcendent hook that underlines Echo's lyrical tribute to communal joy. "Get Stable" transmutes existential panic into sharp-angled punk pop. The anthemic title track is something like the album's mission statement, paying tribute to the power of joyful creation. Mixed by Matthew Hall and Rich Costey and mastered by Bob Weston, All Pleasure was recorded as live as possible, capturing the sheer infectious ecstasy that comes from sharing space together and making a divine racket. Put on All Pleasure, tap into the energy that THUS LOVE is putting out, and you just might find an escape.

Orchestre Tout Puissant Marcel Duchamp’s latest album, “Ventre Unique”, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra’s ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music.

Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet’s simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars.

Ventre Unique is the group’s sixth album and follows their acclaimed 2021 release, “We’re Ok But We’re Lost Anyway”. While their previous work captured the disarray of the world during the pandemic, “Ventre Unique” reflects on shared human experiences, inviting listeners to find common ground through music

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

Vind is 12 pieces written and performed by CTM and produced by Jakob Littauer.

The album consists of cello compositions with few exceptions - a daf enhancing the rhythm, a distant memory of the kora, a pensive flute or folly sounds. The softness of the acoustic instruments is counterplayed by concise compositions and hyperreal productions.

The music presents itself as part spirit, part form; the movement in the moment, repetition, anticipation, what happened and what is to come. It's a sensuous search into stretched out moments, captured and held in one’s hand for a little while. It finds play and devotion, love and light.

Dedicated to Jannis Noya Makrigiannis

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

What does it mean to be perfectly blue? Perhaps it means swimming contently in the waters of deep, complex emotions, or simply learning to spin low moments into casual days. For Luka Seifert, who makes music as RIP Swirl, the idea of being fine with not being happy all the time was the catalyst for his second album, Perfectly Blue. The two words captured something: learning to embrace being blue, while using music as a way of processing emotions.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Austin, TX legends, The Sword, welcome in the Twelfth vinyl release in the Live at LEVITATION series. On June 27, 2024, the band announced they would reunite for a one-off concert on November 3 at the 2024 edition of LEVITATION in Austin. In celebration of this reunion, we pulled from the archive and this limited live release showcases the bands appearance at the festival with their 2015 and 2021 performances. These recordings are now immortalized on beautiful limited colored vinyl. "With the band originating in the great city of Austin, a city that's proven to be a nucleus for a wide range of distinct and eclectic musical acts, it only felt natural to be included on the Levitation roster in 2015 and again in 2021, adding our own flavor to its diverse landscape. What an honor it has been to be included at such a cool festival. We've had two memorable sets so far, playing alongside some truly amazing bands. When we began entertaining the thought of returning to the stage after a two year hiatus, playing a reunion set at Levitation became the only appropriate solution, to play in front of the fans in Austin Texas, where it all began. We're very excited! Being asked to be part of the "Live at Levitation" LP series is also a great honor. The tracks we selected from each performance, at Carson Creek Ranch and Empire Garage, captured a special energy and enthusiasm that only Levitation could provide. It truly means a lot to share these memories with everyone and be included in this series!" - The Sword LEVITATION and the LIVE AT LEVITATION Vinyl Series The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. The event quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headline performances from co-founders The Black Angels, along with Tame Impala, The Flaming Lips, The Brian Jonestown Massacre, Thee Oh Sees (in various forms) and many more. LEVITATION helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas, pressed on beautiful limited edition colorful vinyl pressings - each an eye popping visual representation of the music contained within. The artists and sets showcased on Live at LEVITATION have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at LEVITATION annually from all over the world.

To mark the 10th anniversary of Gidge's landmark album Autumn Bells on Atomnation, the label has assembled a brand new box-
set reissue. This deluxe and expanded edition features a 58-page photo book, poster, the original double album plus a nine-track bonus vinyl with alternative edits and demo tracks from the time, all on transparent wax. The exclusive, limited edition boxset comes first on September 27, then all tracks come digitally in mid-November.

Gidge is the Swedish duo of Jonatan Nilsson and Ludvig Stolterman, who has also taken all of the photos in the booklet. As
friends since high school, they have a deep connection, a great understanding of one another and a shared love of Nordic
woodlands. The spirit of the northeastern forests they grew up around has always coloured their music and lent it an organic,
ethereally, otherworldly edge that conveys feelings of inner peace.

Their brilliant debut album Autumn Bells captured all that in nine accomplished tracks that picked up critical praise from the music
media and millions of online streams. More importantly, it also won them a dedicated fan base who appreciate the art of Gidge's
craft and the sensitivity of their sound. Despite the early success of the album and the three more that have followed since, this
humble pair have chosen to remain low-key. They play only a few shows a year and consciously haven't chased wider commercial
acclaim.

Behind the deceptive veneer of the demure monotone artwork, something unassuming lies within this long-play waiting to be explored. Intrigued by the ironic title, enticed by the elegant text positioned alone on the beautifully tactile matte canvas, the listener will experience musical wonderment at odds with the presentation and discover that the 1976 album Colours is a powerful yet sophisticated set of electric soul-jazz. An inspired recording that bursts with warmth and texture, the pivotal recording from an exceptional jazz musician. HER name - Judy Bailey.

Over the course of a 70 year career, the pianist and composer established herself as one of the central figures of Australian jazz. Her crowning achievement Colours is a spirited and ambitious recording that captured the maturation and shifting jazz landscape of the mid 1970s Australia. Alongside other notable albums recorded mid decade including the 1975 self titled album by Melbourne's Arena (see Roundtable SIR014)) and Jackie Orszaczky's Beramiada (1975), the album signalled the countries transition from semi-acoustic jazz to electric jazz-funk. Regularly compared to the albums released on Creed Taylor's CTI label, Colours parallel these recordings with their clean production and spacious soul-jazz arrangements. In particular the crisp drums and processed bass heard on Bob James and Joe Farrell albums, the sprightly flute of Hubert Laws or perhaps the more sensual side of Flora Purim's vocals could all be suggested as a source of influence.

Continuing to celebrate and re-document Australia's jazz music legacy, The Roundtable are pleased to offer the first vinyl reissue of this seminal Australian Jazz recording. Presented in a replica gatefold sleeve with new liner notes, the full palette can once again be appreciated including the moody funk of Fall Down Dead, the Iberian Waltz Toledo, the Jazz-Dance anthem Colours Of My Dream and the spacey impressionist piece The Eleven Eight Song.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

Formed in London in 1976, The Damned became one of the most groundbreaking and influential bands coming out of the 70s British punk rock scene. Their debut single “New Rose” (1976) is considered the first punk single to be ever released in the UK. Throughout their impressive 45+ year career (and counting), The Damned have experimented with various musical styles, incorporating elements of gothic rock, psychedelia, and new wave into their sound. In October 2020, over 40 years after the founding members parted ways, The Damned announced a series of reunion shows with the original line-up consisting of Dave Vanian (vocals), Brian James (guitar), Captain Sensible (bass), and Rat Scabies (drums). However, due to the pandemic, they were forced to postpone the shows until 2022. November 3rd, 2022, saw the band performing at the fully packed O2 Apollo in Manchester, UK, delivering an energetic 21-song set drawn from the first two albums, the 1977’s “Damned Damned Damned” and “Music for Pleasure”, the only albums to feature the four founding members. This legendary reunion show is captured on the worldwide release “AD 2022 – Live In Manchester” which perfectly portrays the unique magic around The Damned.

Rain and experimental music have had an interesting connection for decades. Under the umbrella of American film music promotion, Hanns Eisler was already looking for "Vierzehn Arten, den Regen zu beschreiben” (fourteen ways to describe the rain) in 1941. A good 20 years later, The Cascades interpreted the periodicity of rain as a rhythm of mourning. For the Beatles ("If the rain falls, they run and hide their heads"), the precipitation inspired the band to use backward running tapes. However, it seems that there has always been a lot of rainfall in popular music. In the early seventies, David Toop and Paul Burwell even had a band project with the great name Rain In The Face...

That was a long time ago and today, rain, which in the age of climate catastrophe mainly occurs as heavy rain or an enervating endless loop, has lost a great deal of its inspiring quality. Perhaps as a reminder of the musical quality of rain, but knowing full well that it can only be enjoyed in theory, Razen call their new album "Rain Without Rain". In the music of the Brussels collective led by the two multi-instrumentalists Brecht Ameel and Kim Delcour, it certainly pours down on the roofs. In fact, the album opens with the sound of pouring rain before we hear the sequence of an oscillator played through a guitar amp on the first track „Lazy, Lazy Eye“.

The album is the captivating result of an one-night mobile studio field recording in an abandoned pedestrian tunnel in the centre of Düsseldorf, and it is finding beauty with brutal(ist) means: recorder, oscillator, guitar amp and reverberation, two musicians and four microphones, early electronics versus Early Music. “Suicide meet Hildegard von Bingen”, as Stefan Schneider, who recorded the session, admits. “Ghostly occurrences”, he adds.

Brecht Ameel states: “We do put a lot of weight and care on acoustics. On some of our recordings, the room acts as another band member, or as the main ‘mixing board’. Most of the albums we have recorded so far are not mixed in the traditional sense: they are simply „captured”, and we let the room decide what is left on the tapes. The studio recordings, then, give us the possibility of bringing other elements to the fore; precision of interplay, or tiny variations in breathing.”

The group Razen exists since 2010 and has since released numerous records on labels such as KRAAK, Marionette and Hands In The Dark. "Rain Without Rain" is their debut on the Düsseldorf label TAL. If there has been an increased international interest in experimental music from Belgium in recent years, this is not least due to musician collectives such as Razen. In terms of its electro-folkloristic intensity and instrumentation, Razen's music is quite unique worldwide. What does Razen actually mean? “We took the word from a poem by Paul Van Ostaijen, not specifically because of its meaning but because of the way it looked on paper”, Ameel explains. “But the meaning goes in the direction of ‘thundering / raging / speeding’ … although we prefer playing with a strong notion of restraint, building our world from (and with) silence.”

Olaf Karnik, Köln 2024

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

Cardinal Fuzz and Feeding Tube Records are proud to present to you the 2nd LP from TOMOYUKI TRIO (Tomoyuki Aoki, Mike Vest & Dave Sneddon) following their debut LP ‘Mars’ on the esteemed Riot Season Record Label. Tomoyuki Aoki is the founding member and lead guitarist of the legendary Tokyo Psych Monsters UP-TIGHT. Of all the Japanese psych-rock groups that emerged in the late nineties and early noughties, Up-Tight are the most reverent, the most directly plugged into the source, from their name (Velvet Underground) with knowing referential song titles like “Sweet Sister” to their extended heavy, dark black clad acid fried one chord psych melters -- we're talking bands like Fushitsusha, White Heaven, Kousokuya, Shizuka, and the grandaddies of 'em all, the deservedly-legendary, Les Rallizes Denudes. Shitsuren If anything has got an even heavier, dronier edge than what we heard on the last one. Super fuzzed guitars, sad ballads, grinding distorto epics and numbed, narcotic rhythms. This is one to play at maximum volume so that you can soak up its molten magik as over 2 sides of Shitsuren’s grueling guitar hypnotics you uncover the darker side of the ensembles personality to find them digging deep to drag the audience with them into the shadows of stoner psyche. If you can picture Okhami No Jikan, Asahito Nanjo. Musica Transonic & Toho Sara then you’re close to the outrageous levels of psychedelic excess captured here, a riotous concoction of ferociously brooding, locked down heavy bearing intensity of fierce/brutal speaker battering in the red levels.

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

The very first Buchla synthesiser performance by revolutionary composer Suzanne Ciani finally makes its fifty year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience.

With this previously unheard vinyl pressing, Finders Keepers Records are proud to present an archival project of ‘art music’ that not only redefines musical history but lays genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we have come to understand it. To describe Italian-American composer Suzanne Ciani’s resurrected Buchla concert records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated WBAI/Phill Niblock 1975 sessions (FKR082), are triumphant yardsticks in the synthesiser space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it’s daunting to learn that these records were in fact not even records at all.

What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970’s artistic gallery collaborations/ live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of Morton Subotnick, Walter Carlos or Tomita, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record.

With the light of Buchla and Ciani’s initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating these ‘non-records’ that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again

For fans of Mount Kimbie, Damon Albarn, Beach House, King Krule. London based singer-songwriter Rollo Doherty releases his debut EP on Lewis Recordings. Frontman for the indie guitar band ISLAND, his solo work is a radical departure from what fans would previously have known him for. As the title suggests, Rollo began this new DIY project from the tranquility of his own home and drew inspiration from the many small, subtle occurrences happening just on the other side of his bedroom window. 90’s Hip-Hop, Movie Soundtracks and Shoegaze are just a few of several influences explored across this diverse piece of work. ‘Out of My Window’ features some scratching from the infamous DJ Yoda as well as crossing the pond, landing in the hands of Brooklyn based duo The Still Brothers, who provided new life through their brilliant analogue production and arrangements alongside the expertise of producer Mike Hill (Arlo Parks, ISLAND) at Lemontree Studios, L.A. The circle became complete when by chance the LA mastering legends Becker Mastering (Doja Cat, Tyler The Creator, Harry Styles) happened upon the unreleased music when mixing engineer Mike visited their studio and asked to hear his latest work. The EP’s duration serves as a metaphor for a single day, as it spans over approximately the duration of 24 minutes, each representing an hour of the day. Ambient soundscapes are heard in-between each track, all moments captured at corresponding parts of the day on Rollo’s handheld microphone which he poises from his window.

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.

There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.

We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

Also available on Red Vinyl - Limited Edition of 200 Copies.

The year 2020 sure wasn't the most ideal time to form a band, especially for a group of musicians who never played together before. But for New York rock quintet GIFT, this strangest of periods was the auspicious backdrop for a bold new sound - a dizzying blend of early shoegaze, classic `90s alternative rock and even modern pop. Indeed, that GIFT emerged somewhat fully formed on their 2022 debut album Momentary Presence was a testament to the creative possibilities laying deep within. Now, Illuminator, their Aug. 23 debut album for revered New York independent label Captured Tracks, is the long-awaited payoff of GIFT's ever-growing musical and human chemistry. And while nods are apparent to label forerunners such as Beach Fossils, DIIV and Wild Nothing, GIFT are shepherding those elements into wondrous new vessels for the present moment - sleek, often danceable and frequently mesmerizing. GIFT - vocalist/guitarist TJ Freda, multi-instrumentalists Jessica Gurewitz and Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell - are firmly enmeshed in the New York scene as talent buyers, photographers, DJs, audio engineers, art directors and, in the case of Campbell, an owner of the beloved Brooklyn DIY venue Alphaville. GIFT introduced Illuminator with "Wish Me Away," their first new song in the 18 months since the debut. With its earworm guitar lines, propulsive rhythms, riveting vocals and mind-expanding aural flourishes, "Wish Me Away" is the perfect sonic springboard from Momentary Presence to where GIFT are going next. It's also a potent reminder that you can still preserve that twinkle in your eye even when you feel like everything's slipping away. On songs such as "Light Runner", "Going In Circles" and "Destination Illumination," Freda demonstrates a newfound confidence and versatility, embracing pop music as a vehicle. The relentless, often painful dance of love has never sounded as exhilarating as on "Going in Circles," while the strident tone poem "Water in My Lungs" conjures the unreal feeling of watching a romantic partner both figuratively and literally fade from view. "This album has a lot of themes of going fast, time passing and things changing," Freda says. Throughout, Freda and company thankfully do much of the hard work for us: falling in love, heartbreak. Watching events and moments go by like cars on the highway. People you once knew coming in and out. Grieving the loss of different phases. Watching everything happen simultaneously. For these and many other reasons, Illuminator, friends, will be the soundtrack to the throughline of your life.

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

The Circus is a place of lights and colors, but also of shadows, even darkness. Admittedly, it delights children and makes adults laugh. But you only need one rainy autumn evening near a circus tent and the smell of fodder to think of the sadness of the clowns, the endless training of the animals and the freaks who are hidden in some caravan... cinema, the essence of the circus – movement, light, danger and burlesque – will have been admirably rendered in Notes on the circus by Jonas Mekas (1966), one of the inventors of the filmed diary. With Cirque, Michèle Bokanowski does similar work, entirely dedicated to spinning, in the musical field.

She distinguished herself in particular in the composition of musique concrète, among others Tabou and Trois chambres d'inquiétudes, after having studied with Pierre Schaeffer and Éliane Radigue. The latter, great lady of drone and minimalism, fell under the spell of Cirque and wrote the booklet for the piece as a poem.

The piece, divided into five movements, is based on the handling and editing of recordings captured within one or more circuses (this is not specified and is of no importance) between 1988 and 1993. The initial allegro reveals the gallop of a horse joined gradually by other images. The idea of the circular space of the circus tent is immediatly and magnificently rendered and will be constantly recalled by an insistent use of the loop technique. Children's laughter, applause and drum rolls are thus sheared, repeated before being brutally interrupted. Accordion interludes and the distortion of sounds create a dreamlike atmosphere. This beautiful nightmare reminds us, to quote Éliane Radigue, the "Magic of childhood still living in the heart of man even beyond its abrupt end."

Words by Alexandre Galand, from the book “Field Recording – L’usage sonore du monde en 100 albums” (ed. Le mot et le reste, 2012)

Major member of the french musique concrète scene, Michèle Bokanowski was born on August 9, 1943 in Cannes, FR, to a musician mother and a writer father. She now lives and works in Paris.
Music lover since adolescence, it was relatively late, at the age of 22, that Michèle Bokanowski decided to study composition. Reading In Search of a Concrete Music by Pierre Schaeffer was decisive. After classical training on harmony, she met Michel Puig, a student of René Leibowitz, who taught her writing and analysis based on the Treatise of Schönberg. In September 1970 she began a two-year internship in the ORTF Research Department under the direction of Pierre Schaeffer. She takes part in the same time in a research group on sound synthesis, studies musical computing at the Faculty of Vincennes and electronic music with Éliane Radigue.
Her main works are intended for concert: Pour un pianiste, Trois chambres d’inquiétude, Tabou, Phone Variations, Cirque, L’étoile Absinthe, Chant d’Ombre, Enfance, Rhapsodia, Cadence, Elsewhere. She has also composed for theater (with Catherine Dasté), dance (with choreographers Hideyuki Yano, Marceline Lartigue, Bernardo Montet) and cinema: music for the short films of Patrick Bokanowski and his two feature films L'Ange ( 1982) and A Solar Dream (2016).

GARDENIA is an existing land located at the Limpopo province of South Africa, right at the border with Botswana. The place's real name is Mmabolela and it's a private nature reserve covering 6500ha of subtropical savanna and part of Limpopo River.

In November 2019 I had a chance to visit the location and participate in an annual residency for composers and sound artists called 'Sonic Mmabolela', initiated and curated by Francisco López.

We lived in an isolated property in the middle of savanna having a unique opportunity to exist in undisturbed touch with the African wilderness.

For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation.

All the natural sounds later used to create Gardenia were captured there — during longtime recording sessions over the virgin interior of Mmabolela Reserve.


The album's field recording content was selected from several hours of birdsong, calls of frogs, insect noises, sounds of trees, bushes, grass as well as non-living natural elements like stones or shells.

These field recordings were later digitally processed and used as part of 9 musical arrangements.

However the recording sources and the location of Gardenia is defined, it was not my intention to document a South African natural soundscape nor create any other kind of strict concept album.

All I do in my work is an affirmation of beauty hidden in various aspects of the Creation. MJ

The Moon and the Melodies is a singular record within the Cocteau Twins" catalogue - unusually ethereal, even by their standards, and largely instrumental, guided by the free-form improvisations of Harold Budd, an ambient pioneer who had drifted into their orbit as if by divine intervention. Building on the atmospheric bliss of Victorialand, released earlier the same year, it signalled a possible future for the trio, yet it was a path they"d never take again. Now, almost forty years after it was fi rst released, it"s being reissued on vinyl for the first time - remastered, from the original tapes, by Robin Guthrie himself. Over the ensuing years, The Moon and the Melodies has attracted a passionate fan base. Its most atmospheric tracks routinely turn up in ambient DJ sets. "Sea, Swallow Me" is one of the Cocteau Twins" most streamed songs on Spotify, having found a new life on TikTok, where it serves as the soundtrack to innumerable expressions of hard-to-express melancholy. For such a low-key aff air, the album casts a long shadow - but Raymonde believes the record"s uniqueness stems directly from its humble, unpremeditated origins. "It captured a moment in time between friends that are enjoying making music together. Really, that"s the essence of it."

"Two-time GRAMMY Award Winner and multi-platinum selling performing artist Lauren Daigle will release a very special collection of reimagined songs entitled Sessions, on August 16th. Recorded live in front of a limited audience, the 8-tracks highlight the beauty in the songcraft and purity of Daigle vocal prowess. In a first for Daigle, Sessions will be available on numbered limited- edition vinyl variant in addition to digital platforms.
“I love that we’re able to share versions of these songs that people might not have heard before,” shares Daigle. “I think it’s what makes them special. I also thought it’d be cool to add something a little different, something we’ve never done before, so I thought what better, more poignant song is there than Joe Cocker’s “You Are So Beautiful”. It’s up there on my list of all- time favorites.”
Sessions marks the debut release of the recordings captured at SiriusXM, which were previously only heard during the original performances. The Apple Music performances will now be available for the first time across all streaming platforms. Sessions includes her rendition of Joe Cocker’s “You Are So Beautiful,” two new versions of her recently Gold Certified hit “Thank God I Do,” her current radio single, “Be Okay” and the first new recording of her 6x Platinum smash “You Say.”
Daigle recently wrapped the long-awaited European Leg of The Kaleidoscope Nights Tour including sold out performances in London, Manchester, and Amsterdam. The tour will make its debut in the US on July 29th in Columbus, OH with stops in Amphitheaters across the states including Brandon, MS, Colorado Springs, CO, and Santa Barbara, CA before wrapping September 5th in Honolulu, HI. The Kaleidoscope Nights Tour features many of Daigle’s #1s including her groundbreaking 6x Platinum smash “You Say,” 2x Platinum hit “Rescue,” “Look Up Child,” her latest No.1 and Gold Certified GRAMMY Nominated “Thank God I Do.”"