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A year on from Aura Safari and Jimi Tenor's Sensory Blending and DJs and dancers are still lost in its summer charms, but there have also been a series of standout remixes taken from the originals, which now get assembled on one vital 12": Sensory ReBlending features Willie Graff, Reverso 68 Dub, Jazz N Palms and Luminodisco.

First up is Ibiza favourite Willie Graff, who tackles the spellbinding original 'Bewitched By The Sea'. He brings a signature Balearic beat perfect for cruising around the island as the sun blazes with its dubby, swaying drums and more prominent vocal, all brought to life with delicate percussion and gentle synth pulses. Label regular Federico Costantini aka Luminodisco also returns with a mature post-Balearic touch that douses the track in an ocean of dubby echo. Gorgeous Spanish guitars and jumbled percussion form a life raft which floats out to sea under the sultry wind motifs.

Reverso 68 is the studio-based project of Pete Herbert and Phil Mison, and over the last decade-plus, they have mastered the art of making music for swimming pools. Their version of 'Your Magic Touch' is low-slung and deep with a mid-tempo four-four groove sprinkled with tropical percussion. The muted chords are gloriously dreamy and the whole thing is perfect for early evening warm-ups.

Jazz N Palms is Hell Yeah family and is currently riding a wave of acclaim for his See Rodes (Revisades) album on his own Jazz N Palms Recordings. He flips 'Lunar Wind' into poolside perfection with heart-melting sax notes and rippling keys, soothing female tones and dubby breaks. It's a perfect soundtrack to heavenly ascent.

These remixes perfectly extend the soul-soothing pleasures of Sensory Blending with plenty of fresh but sympathetic perspective.

On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the "70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony"s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony"s mad old lines. AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA"s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals. The Friends of AKA are Tullis Rennie, trombone and electronics; Olie Brice, double bass; Richard Moore, violin; and Haydn Ackerley, guitar. They too navigate the shoreline of the south coast, haunt the same taverns and regularly play together in whatever combinations fit the bill. Leaving the drums (and their drummer) at home to realize anew these dreamladen songs, AKA & Friends ensure that the notes fall around the beat and not on it, so as to define the pulse with absence. As such, time is liberated, prised free from the merciless clock; a rhythm of waves, passing through a steady-state universe of no beginnings and no endings. Discontinuities are dissolved, all is transition.

Winter Sessions in Courchevel - compiled by DJ Ravin Bereit für den Winter? Mit Winter Sessions in Courchevel präsentiert der legendäre DJ Ravin eine exklusive Doppel-Compilation, die den Soundtrack für stilvolle Höhenflüge liefert - von glamourösen Nächten in den Alpen bis zu entspannten Après-Ski-Momenten. Die Auswahl vereint feinste World Lounge, Electro-Chill und festliche Deep Vibes - perfekt abgestimmt auf die Atmosphäre des Luxus-Skiorts Courchevel. Mit dabei sind renommierte Buddha-Bar-Künstler wie Majnoon, VS Prjct, DJ Phellix, Souhail Artwork, Omary, Carlos Campos und viele mehr. Ob auf exklusiven Partys oder in ruhigen Stunden am Kamin - diese Musik schafft Räume für Emotion, Eleganz und Eskapismus. Jeder Track ist ein Fenster in eine Welt zwischen Tradition und Moderne, zwischen globaler Klangästhetik und alpinem Chic.

Utilizing only guitar, bass and drums, Papir conjure vast and melodic soundscapes while still maintaining a krautrock drive. One of the most unique bands in the modern European psych rock scene, they continue to innovate as they refine their sound with each album. Copenhagen"s foremost aural travelers are back and bearing new music. True to their distinct sound, Papir return with another chapter in their ongoing sonic journey. Terms like post-rock, ambient rock, psychedelia, and krautrock may circle their sound, but none quite capture its shimmering, elusive magic. IX is a wide-open record in every sense. From the flowing compositions - which linger but never overstay, jam and unfold organically - to the wonderful airy production, you get the sense of being both in studio with the band and simultaneously on the beach with wind blowing through your hair. In addition to the ever free-flowing nature of the band"s live recordings, additions such as synthesizer or extra percussion appear always tastefully right when needed, adding the perfect seasoning on top.

Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.

The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.

With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.

The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him.Produced by Sam Cohen (who also worked on Morby’s Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby’s live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we’re still here? This is a photograph of that sense of yearning

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

The project is co-led by Copenhagen-born saxophonist Andreas Toftemark, a European Jazz Master and recipient of the Bent Jædig Prize, whose career has taken him from the Conservatorium van Amsterdam to The New School in New York. He is joined by Benny Benack III, the multi-award winning Emmy-nominated trumpeter and vocalist lauded for his charismatic performances with the likes of Christian McBride, Chad Lefkovitz-Brown, Peter Bernstein and more. Rasmus Sorensen adds a vital piano voice, fresh from winning a Danish Music Award in 2024 and releasing Balancing Act (2024) featuring modern drum icon Kendrick Scott. On bass, Finnish talent Kaisa Mäensivu - leader of her own project Kaisa"s Machine - brings international credentials shaped at the Sibelius Academy, Manhattan School of Music, and festivals including Pori Jazz. Completing the lineup is New York drummer Joe Peri, a Grammy-winning artist featured on Tony Bennett & Lady Gaga"s Love for Sale and a familiar face at Birdland, Mezzrow, and other NYC institutions. Together, they craft Roadmap - a set of originals born from tours around the Copenhagen Jazz Festival and honed on the road. Each member contributes compositions: from Toftemark"s modal-driven title track and brisk swinger What Gets You to Peri"s hard-hitting opener Icebreaker, Mäensivu"s funk-tinged The Lemur, and Sorensen"s harmonically dense New York Attitude. The quintet also delivers moments of intimacy, with Again - a co-write between Toftemark and Benack - adding lyrics penned on tour and sung with understated warmth. As Benack reflects: "When I play with Andreas, I"m thinking of Joe Henderson and Kenny Dorham, of Clifford Brown and Harold Land. But this isn"t just a revival of a classic hard bop record-the heart and soul of it is the Copenhagen-New York connection."

Vinyl only release of dynamic chicago improvising quartet consisting of Marilyn Crispell - piano * Jason Stein - bass clarinet * Damon Smith - double bass * Adam Shead - drums. Recorded live on the 18th of June 2023 at The Hungry Brain, Chicago by Bill Harris. A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the moment and revealing a long-ranging, intricate approach to free improvisation.

This album is a clear evolution in their journey and yet a distinct departure from Ahkatari"s debut. "Blood: Act I" sees the Detroit duo double down on the grit and dive even deeper into the streets. Whitaker"s beats are grainy, layered and dusty. His sample selection and ability to manipulate is as much a part of the storytelling as Ahk"s lyrics.

Wicked: For Good – The Soundtrack enthält alle Songs der Stars aus dem emotionalen und mitreißenden
Finale von Universal Pictures’ weltweitem Kinoerfolg Wicked: For Good und entführt die Zuhörenden in die
magische Welt von Oz. Mit Musik und Texten des legendären Grammy- und Oscar®-Preisträgers Stephen
Schwartz enthält der Soundtrack zwei neue Originalsongs aus dem Film: „No Place Like Home“, gesungen
von der Oscar®-Nominierten Cynthia Erivo als Elphaba, und „The Girl In The Bubble“, gesungen von der
Oscar®-Nominierten Ariana Grande als Glinda. Darüber hinaus ist „The Wicked Witch of the East“ auf
dem Soundtrack zu hören, das zuvor nicht in den Broadway Cast Recordings enthalten war. Der Soundtrack
enthält auch die bei den Fans beliebten Songs „Thank Goodness“, „As Long As You’re Mine“, „No Good
Deed“ und den Titelsong „For Good“.
”Wicked: For Good“ - The Soundtrack ist ab dem 21.11.25 erhältlich

Mit Ravel Recomposed legt Victor le Masne eine Hommage an einen der größten Meister der französischen Musikgeschichte vor. Nach seinem Erfolg als Komponist und Musikalischer Leiter der Olympischen
und Paralympischen Spiele 2024 in Paris widmet sich Le Masne nun der Musik von Ravel, die ihn seit
seiner Kindheit begleitet. Ravel Recomposed schlägt Brücken zwischen Tradition und Gegenwart: Klassik
und Jazz verbinden sich mit dem Puls des French Touch und verschmelzen zu jenem unverwechselbaren
Klang, der den Grammy®-prämierten Komponisten, Produzenten und Multiinstrumentalisten international
bekannt gemacht hat. Das Album erscheint am 21. November 2025. Die Neuinterpretationen von Boléro,
Jeux d’eau, Le jardin féerique sowie Auszügen aus Daphnis et Chloé, L’enfant et les sortilèges und dem Streichquartett, neben weiteren Werken, erscheinen anlässlich des 150. Geburtstags von Ravel. Zu hören sind
Christine and the Queens (Texte, Gesang), Julius Asal (Klavier) und Camille Thomas (Cello). Das Album
mit seinen zwölf Stücken ist der jüngste Beitrag zur wegweisenden Reihe Recomposed von Deutsche Grammophon. Den Auftakt machte vor 20 Jahren Matthias Arfmann mit seinen Bearbeitungen von Aufnahmen
der Berliner Philharmoniker unter Herbert von Karajan. Es folgten unter anderem Peter Gregsons Neuinterpretation von Bachs Cellosuiten sowie Max Richters gefeierte Neufassung von Vivaldis Vier Jahreszeiten

Der Gitarrist John Scofield und der Bassist Dave Holland, zwei der zeitgenössischen Meister des Jazz, haben
im Laufe der Jahre in verschiedenen Zusammenhängen zusammengespielt – darunter Projekte mit Herbie
Hancock und Joe Henderson sowie eine energiegeladene Gruppe mit Joe Lovano und Al Foster. Memories
of Home ist nun ihr erstes Duo-Album, letztes Jahr nach ausgiebigen Tourneen in den NRS Studios in
Catskill, New York, aufgenommen. John Scofield: „Die Platte enthält, genau wie unsere Live-Shows,
Stücke, die jeder von uns komponiert hat, einige neu, einige alt. Wir teilen jahrzehntelange gemeinsame
musikalische Bezugspunkte. Die Gemeinsamkeiten und Unterschiede in unseren Herangehensweisen machen
die Zusammenarbeit, wie ich finde, umso spannender.“
Das Album enthält Scofields Songs „Icons at the Fair“, „Meant to Be“, „Mine Are Blues“, „Memorette“
und „Easy for You“ sowie Hollands „Mr. B“, „Not for Nothin’“, „You I Love“ und „Memories of Home“.

After the highly successful release of their second album “March Of The Unheard” in January 2025, which charted #3 in Sweden, #4 in Germany and Austria, #8 in Finland and Switzerland, melodic death metal all-star group THE HALO EFFECT celebrated a triumphant series of shows on their first EU headlining tour (supported by fellow Swedes PAIN), now follows an EP with cover songs handpicked by each member of the band offering a stunning and surprising insight into THE HALO EFFECTS’ diverse influences.

"As iconic as she was discreet, Françoise Hardy established herself in the '60s as a major artist in the genre of ""French chanson."" Her voice, songwriting, and ability to surround herself with talented collaborators helped her seduce the whole world and, over the decades, shape a discography of the highest caliber.
This brand-new Best Of compilation is the very first to cover Françoise Hardy’s entire career, spanning from her 1962 debut to her final recordings in 2018. Featuring a timeless 1960s-inspired cover, it brings together her most iconic songs, from early classics like ""Tous les garçons et les filles"" and ""Le temps de l’amour"" to signature hits such as ""Comment te dire adieu"" (a streaming and sync favorite), ""Message personnel,"" the viral sensation ""Voilà"" (#1 viral hit, with over 300k TikTok creations), and ""Le large."""

"As iconic as she was discreet, Françoise Hardy established herself in the '60s as a major artist in the genre of ""French chanson."" Her voice, songwriting, and ability to surround herself with talented collaborators helped her seduce the whole world and, over the decades, shape a discography of the highest caliber.
This brand-new Best Of compilation is the very first to cover Françoise Hardy’s entire career, spanning from her 1962 debut to her final recordings in 2018. Featuring a timeless 1960s-inspired cover, it brings together her most iconic songs, from early classics like ""Tous les garçons et les filles"" and ""Le temps de l’amour"" to signature hits such as ""Comment te dire adieu"" (a streaming and sync favorite), ""Message personnel,"" the viral sensation ""Voilà"" (#1 viral hit, with over 300k TikTok creations), and ""Le large."""