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th Anniversary Edition of the Grammy Award Winning album by the King of Rock ‘n’ Soul - the great Solomon Burke. Newly mastered and includes the bonus track “I Need A Holiday”. The newly packaged
booklet includes exclusive photos from the recording session and new liner notes.

Recorded live in the studio in a raw, organic style by Joe Henry, the album features new compositions by writers and artists including Bob Dylan, Van Morrison, Tom Waits, Elvis Costello, Barry Mann & Cynthia Weil, Nick Lowe, Brian Wilson, Joe Henry and Dan Penn, all of whom credit Solomon with deeply influencing their work. None of these songs have ever been released commercially before now, and Solomon makes each of them his own with his dynamic delivery.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

4 Cuts Placed In "A First Quarter", the companion piece to Solos, is the sonic result of a collaboration with artist Lawrence Weiner. As Landry remembers, “I was working for Keith Sonnier at Castelli Gallery and met Lawrence. He asked ‘can you make a video for me?’ So we did "To and Fro..." At some point he was working on "A First Quarter" (1973) and wanted me to do the music. I said ‘I already have the music.’ He said ‘what do you mean?’ I had recorded several pieces with Kurt Munkcasi and walked around the set playing the music on a boom box.”

The set features one solo each by Landry and contrabassist Rusty Gilder, a duo for the tenor saxophones of Landry and Richard Peck, and an ensemble piece for Landry, Peck, Gilder, trumpeter Robert Prado, and drummer David Lee, Jr. Starting the record off is “Requiem for Some,” inspired by Gil Evans’ long, placid tones. The anchor is Lee’s dry cymbal attack and fancy footwork, dancing around overlapping and recombining horns, chords held just shy of splintering. “4th Register” is a grainy delayed solo tenor piece, presaging “Kitchen Solos” from Fifteen Saxophones by several years. “Piece for So” was, according to Landry, “a chance to give Rusty a solo”. Mostly known as an ensemble bassist, Gilder bounced between Lafayette, Charlotte, and New York, leaving a slim recorded legacy. Here, he stretches out for twelve minutes and change – with keen upper register detail and meaty up-tempo walk, he could have been mentioned in the same breath as players like Dave Holland and Barre Phillips. The closing “Duo Vivace” finds Landry and Peck sparring on tenors, the latter holding a melodic line while Landry leans into explosive glossolalia, until both become birds in flight.

Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with Planets by Masaru Imada Trio + 1. Originally released in 1977 as a private press album, Planets showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty-plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr. Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer. Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

2020 and 2021 will probably go down in history as two of the most challenging years for musicians in modern times. But despite it all, Orions Belte have managed to stay extremely busy. Ever since the release of the single “Bean” in April of 2020, the releases have been coming in a seemingly constant stream. Singles, EP’s, collaborations… Their sophomore album Villa Amorini was released in April of 2021, to rave reviews and widespread playlisting. A few weeks later, they followed the album with a Lagniappe Session EP in collaboration with the credible LA blog Aquarium Drunkard. And in June, they released their first live album Scenic Route, featuring recordings from their spectacular tour of outdoors streamed shows during the summer of 2020. And they’re far from finished! The concept of “taking a break” is not in these guys’ vocabulary. In September 2021, Chris Holm, Orions Belte’s inimitable bass player, released the first single from his album Orions Belte – Chris Holm. The album was released November ’21, and it was the first album in a series of solo albums by the members of Orions Belte. Next up is guitarist Øyvind Blomstrøm’s record, and finally drummer Kim Åge Furuhaug will release his. Just like KISS did in 1978, every member will make their own album under the Orions Belte moniker.

Minas-cover Minas is a world music duet comprised of Orlando Haddad and Patricia King. Minas reflects a perfect musical marriage with a stage presence and chemistry that only a lifetime can produce. Drawing on the passionate styles of Brazilian and American roots music, the two create a fresh and innovative sound. With a catalog of 8 recordings released on their label Bluezul and a collection of over 100 songs, they have been building their reputation. Multi-talented as composers, vocalists, and instrumentalists, and equally comfortable in Brazilian jazz, folk, and classical genres, Minas is now bringing their world music approach to the Beatles with their latest album titled Beatles in Bossa. This re-imagination of fourteen Beatles' songs is infused with American Jazz and Brazilian styles of Bossa Nova, Samba, Choro, Partido Alto, Afoxé, Marcha Rancho, and Frevo. "Blackbird" has a nylon-strung guitar and vocal intro that sets the tone for this Brazilian-themed arrangement. Minasminas-1 transforms the melody to something new while still keeping the theme recognizable. The male and female vocals of Haddad and King blend beautifully as the band builds a relaxed Brazilian feel. John Swana plays an expressive Evi solo, adding a modern color while still being vivid. Haddad wrote this creative arrangement with a fresh approach to this classic Beatles melody. "With A Little Help From My Friends" is another Brazilian arrangement that is all Minas. The concept came from Haddad and King with the horn arrangement provided by Andrew Neu. Haddad's nylon-strung guitar keeps a Latin pattern as the horns accent the two vocalists trading phrases of the melody. Neu plays an exciting solo. The arrangement is rewarding, enabling us to hear the melodic lines, harmony, and orchestration from a different perspective.minas-2Minas' Beatles in Bossa impresses with its natural, vibrant, and heartfelt presence, allowing us to hear and appreciate the colors and textures of the exceptional music of the Beatles through a Brazilian perspective and thoughtful performances.

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 29-12-2017, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone ; Drumpad
Pedro Alves Sousa - Percussion ; Saxophone ; Electronics ; Flute
David Maranha - Percussion ; Organ ; Flute
Gabriel Ferrandini - Percussion ; Electronics ; Flute


[a] a1 | KETU
[b] b1 | RAHU

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

Folk Implosion's fan favorite album is available on cassette for the first time! They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion. Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's 'Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later. Tracklisting: 1. Blossom 2. Sputnik's Down 3. Slap Me 4. Chicken Squawk 5. Spiderweb-Butterfly 6. Had To Find Out 7. Better Than Allrite 8. Why Do They Hide 9. Winter's Day 10. Boyfriend, Girlfriend 11. Shake A Little Heaven 12. Waltzin' With Your Ego 13. Take A Look Inside 14. Start Again

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

The Jive Aces are the UK's top jive and swing band and are renowned for their high-energy jump jive and spectacular stage show in their hallmark yellow suits. The band’s repertoire stretches from the timeless tunes of the swing era to the glitz of the Rat Pack, with a dash of rhythm & blues, swinging jazz and the roots of Rock ‘n’ Roll and Elvis.
Originally forming in London the band gained steady success year by year and are the first live band to reach the semi-finals of "Britain’s Got Talent" famously putting grumpy Simon Cowell “in a good mood”. This was followed by a performance to the late Her Majesty The Queen as part of her Diamond Jubilee celebrations. They are unquestionably the UK’s finest band in their genre.
They performed at hundreds of festivals including Glastonbury, Montreux Jazz Festival and The Hop Farm Festival to name a few. They also headlined and sold out the first ever swing dance at the Royal Albert Hall. By popular demand the band will be featuring in their own show in London’s West End at the Aldwych Theatre this December.
During the pandemic, the band performed consecutively for over 500 days with free concerts on line to cheer people up and help get through the tough times.The band has a one month US tour scheduled for 2023 and diary full of shows throughout UK and Europe. They are in constant demand.

FIRST VINYL (VOL. 1)
SIDE 1:
1. I’m Gonna Sit Right Down And Write Myself A Letter
2. On A Slow Boat To China
3. Sweet Sue, Just You
4. On The Sunny Side Of The Street
5. Jeepers Creepers
6. It’s Been A Long, Long Time
SIDE 2:
7. I Can’t Give You Anything But Love
8. It Had To Be You
9. Wrap Your Troubles in Dreams
10. Ain’t She Sweet
11. I’m Confessin’ That I Love You/ It’s Only A Paper Moon
12. Ain’t Misbehavin’

SECOND VINYL (VOL. 2)
SIDE 3:
1. Rock ’n’ Roll Movie Star
2. Feeling Happy
3. Mama, He Treats Your Daughter Mean
4. No. 13 (Fruit Boots)
5. Choo Choo Ch’Boogie
6. Giddy Up A Ding Dong
SIDE 4:
7. Bad News
8. Alright, OK, You Win
9. I Want You to Be My Baby
10. Rock ’n’ Roll Boogie
11. Ain’t Nobody Here But Us Chickens
12. Jump, Jive and Wail

It's been 5 years since Nicolas Cubillos started his musical odyssey with his band Lachinos. In 2020 they released their first EP America Lachina with the label Goutte d'Or Records. Through these four songs full of lysergic magic, they offer an ode to Latin American music that was danced at home.
In the fall of 2022, Lachinos will release his second EP entitled Costa Brava, still on Goutte d'Or Records. This record, which mixes surf rock, merengue, cha cha cha and cumbia with Japanese tints, is a sincere exploration through their colorful and festive universe.
With the added bonus of two brilliant remixes by Voilaaa and Matias Aguayo Currently, the group is composed of important actors of the avant-garde music scene in Peru and Colombia: Ernesto Velarde
(Moldes, Juan Wauters) on drums, Santiago Jimenez (Mamíferos, Las Migrañas) on keyboards and vocals, John Socha (Romperayo, Nkumba System, the Caribbean Makina) on bass.

"Hushman is the new project from renowned folk musician, singer &
songwriter Ewan MacPherson
Originally hailing from Liverpool, with family ties to Scotland, Ireland and Wales,
Ewan moved to Edinburgh in 1999 where he is now a recognised figure on the
vibrant Scottish music scene, performing and writing with Scottish Indie folk band
Salt House & Scottish Acid folk legends, Shooglenifty, amongst others. Likened to
Ben Howard, John Martyn and Nick Drake, the music and songs Hushman is
producing are painted and sculpted to the backdrop of the Scottish Highlands,
the walls of the shed they have been recorded in are thin; black grouse, torrential
rain and gales subtly underpin Hushman's music through the cabin walls.
Hushman features Hannah Read on backing vocals, Lauren MacColl (Rant, Heal &
Harrow) on strings, Ben Nichols (Seth Lakeman, Nadine Shah) on Bass and
James Mackintosh (Shooglenifty, Capercaille) on percussion."

"Hushman is the new project from renowned folk musician, singer &
songwriter Ewan MacPherson
Originally hailing from Liverpool, with family ties to Scotland, Ireland and Wales,
Ewan moved to Edinburgh in 1999 where he is now a recognised figure on the
vibrant Scottish music scene, performing and writing with Scottish Indie folk band
Salt House & Scottish Acid folk legends, Shooglenifty, amongst others. Likened to
Ben Howard, John Martyn and Nick Drake, the music and songs Hushman is
producing are painted and sculpted to the backdrop of the Scottish Highlands,
the walls of the shed they have been recorded in are thin; black grouse, torrential
rain and gales subtly underpin Hushman's music through the cabin walls.
Hushman features Hannah Read on backing vocals, Lauren MacColl (Rant, Heal &
Harrow) on strings, Ben Nichols (Seth Lakeman, Nadine Shah) on Bass and
James Mackintosh (Shooglenifty, Capercaille) on percussion."

Nikki Lane's remarkably dazzling third album Highway Queen, sees the
young Nashville rebel emerge as one of country and rock's most gifted
songwriters.Produced by Lane and fellow singer-songwriter Jonathan
Tyler, and recorded in Denton, Texas and Nashville, Tennessee, Highway
Queen is an emotional tour-de-force
Blending potent lyrics, unbridled blues guitars and vintage Sixties country- pop
swagger, Lane's new music will resonate as easily with Black Keys and Lana Del
Rey fans as those of Neil Young and Tom Petty. Highway Queen starts with the
whiskey-soaked restlessness of € 700,000 Rednecks, a rowdy call to action, and
ends on the profoundly raw Forever Lasts Forever, where Lane belts freely,
mourning a failed marriage, the lighter shade of skin left behind from her wedding
ring. Lane's journey to heartbreak takes exquisite turns. Companion is pure Everly
Brothers' dreaminess ( I would spend a lifetime/ Playing catch you if I can ).
Elsewhere, she goes on a Vegas bender on the rollicking Jackpot, fights last-call
blues ( € Foolish Heart ) and tosses off brazen one- liners at a backroom piano
( Big Mouth ). Lane, a Greenville, South Carolina native, is a unique songwriter
who didn't take the traditional country artist path. Her backwoods roots are
undercut by her chosen career as a fashion entrepreneur (she's the owner of
vintage clothing boutique High Class Hillbilly) who has lived " and been
heartbroken in " Los Angeles, New York and Nashville. So it's no surprise that her
music seamlessly crosses musical genres with lyrics steeped in the doomed
perseverance only a true dark horse romantic knows. Lane's rapid rise in music is
thanks to the fervent critical acclaim of her debut record Walk of Shame and
2014's Dan Auerbach-produced All Or Nothin'. Pressed on Blue Jean Color vinyl.

“Who Do You Love The Most?” is the young trio’s third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album’s 10 songs are all Mulelid originals, except for a gripping cover of Judee Sill’s The Archetypical Man. Two of the originals are the trio’s versions of songs that first appeared on the pianist’s much lauded solo piano album (“Piano”) from last year. Kjetil André Mulelid (31) comes across as an exceptionally mature pianist and composer. The trio’s 2017 debut “Not Nearly Enough To Buy A House” received wide international acclaim, with writers most typically mentioning Keith Jarrett and Bill Evans. The praise continued for 2019’s follow-up “What You Thought Was Home”, with the Jazz Journal giving it a 5/5 rating and calling it “some of the most captivating music I´ve heard in quite some while”. All About Jazz noted the maturity of the work, feeling like coming from three well-seasoned pros. Mulelid grew up in the small village of Hurdal, and started playing the piano when he was nine, after hearing Chopin on the stereo. Later he did a bachelor degree in jazz performance at NTNU in Trondheim, blessed with top teachers such as Erling Aksdal, Vigleik Storaas and Espen Berg. He is also a member of jazz quartet Wako. Bjørn Marius Hegge (33) has been making waves on the Norwegian jazz scene lately, with his quintet’s debut album "Hegge" winning a Norwegian Grammy. He has his own trio as well, with pianist Oscar Grönberg and young drummer ace Hans Hulbækmo (Moskus). In 2019 he released "Ideas" with Axel Dörner, Rudi Mahall, Håvard Wiik and Hans Hulbækmo. Andreas Skår Winther (30) is, like the other two, a "product" of the fertile milieu at the Trondheim Conservatory of Music. His discography includes "Left Exit, Mr. K" with Michael Duch & Klaus Holm (Clean Feed) and Megalodon Collective (Gigafon). Tracklist 1. Paul 2. Endless 3. The Road 4. Remembering 5. Point Of View 6. The Archetypal Man 7. For You I’ll Do Anything 8. Imagine Your Front Door 9. Gospel 10. Morning Song

Fleeting configurations of piano, wind, strings, synthetics, and field recordings, inspired by the Greek isles.
Previous albums adored by the likes of The Quietus, Exclaim, Drowned In Sound, etc.
For fans of Angelo Badalamenti & David Lynch soundtracks, Bohren & Der Club Of Gore, and Global Communication.
While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as “a moment of focus”—a specific vision for the sprawl of raw recordings she’d been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the “reductive process” of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections: glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to No5 as “almost like a first album.”
Drawing on sessions staged in February 2020, Vantzou’s editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as “one who joins things” is here both plumbed and proven; Vantzou describes No5 as “a letting go,” a place of “soft borders,” unfixed and undefinable.

In 2003, Pisco Crane assembled a six-piece band from motivated and talented like minds in the Kinshasa slums where he grew up. Pisco had been involved with a handful of local rap acts when he was younger, but after meeting legendary instrument builder Bebson De La Rue, he was inspired to follow a new path. He set about building instruments from the discarded trash that surrounded his city: bits of old computers or oil cans were fashioned into bass guitars and drums, and keyboards were bashed together using springs, metal pipes, and offcuts of tubing. If there was a core philosophy that guided Pisco at this stage in his journey, it was that everyone should have access to instruments, no matter where they come from or what their budget might be. And following in the footsteps of Bebson, Pisco locked into a Congolese tradition that touches on the eccentric genius of globally lauded artists like Konono Nº1 and Staff Benda Bilili. Over the years, Fulu Miziki's notoriety grew in the Kinshasa underground - their utopian vision of the future was infectious. Eventually, they were joined by performance artist, sculptor and fashion designer Lady Aisha, who offered the band unique colour and a soulful central focus. Influenced by Kinshasa's street performance scene, Aisha helped the band devise vivid masks and costumes that were as electric and singular as the instruments they played, and the scene was set. In 2020, as the world was plunged into lockdown, footage of Fulu Miziki went viral and their star began to grow exponentially, with a video of the band preforming the track 'Tikanga' racking up millions of views on Facebook. The band used this opportunity to work on documenting their sound, and shored up at the Nyege Nyege studios in Kampala for a year to assemble a definitive album. Recorded by HHY & The Macumbas' Jonathan Saldanha, this record captures the band's furiously innovative mixture of industrial sonics, spiritual jazz, punk, and Congolese soukous pressure. At their best, Fulu Miziki sound almost completely out of time, curving pounding rhythms around microtonal clanks, rousing chants and spiky sonics. On 'Mutangila', there's a hint of disco in the 4/4 stomp, but it's been shifted into a post-punk ritual, adorned with complex bell percussion and overlapping vocals. 'Congo' is even harder to define; electrified buzzes form a bassline, but it's the mindboggling rhythms that shuttle the track into psychedelic realms, led confidently by Lady Aisha's limber rhymes. Fulu positively slither on the sultry, industrial-influenced 'Sebe', while 'Tikanga' reminds of Congo's rumba-derived soukous traditions, materializing the sounds into the future with tight, pounding percussion and head-melting fx. The story of Fulu Miziki is sprawling and complex and constantly evolving, with various offshoots and band iterations. Two members left the band in 2016 to form KOKOKO! with French producer Débruit. Not long after they recorded this magnum opus album, several other original members left to form a similarly named outfit currently based in Europe. This other incarnation recently released an EP of electronic productions without the band founder Pisko Crane and lead vocalist Lady Aicha, on the UK based Moshi Moshi records. Pisco and Lady Aicha currently lead a different outfit in Kinshasa made up of completely new musicians. This full-length is the remaining proof of Fulu Mziki at their most vital and most complete - it won't be repeated - and can never be recreated. It's an essential portrait of one of the Democratic Republic of Congo's most innovative contemporary outfits, and some of the most surprising hybrid music you're likely to hear.