Search:empire of the sun

When Niko Moon broke out with his triple-platinum hit “GOOD TIME,” the Texas-born, Georgia-raised singer/songwriter lit up the country scene with his larger-than-life energy and message of radical positivity. Since then, he’s earned a passionate following, major TV performances, and praise from outlets like Holler and American Songwriter. With AMERICAN PALM Deluxe, arriving right before his headline AMERICAN PALM Tour, Niko expands his latest LP with
two new tracks, “BREATHE” and “BARE FEET IN THE SAND,” furthering his mission of creating music that feels like a“mental vacation” filled with sun-soaked serenity and coastal escape.

“Breathe is all about finding that place where you can take a deep breath and let your worries drift away,” says Niko. “I find peace by the water, and I wanted the song to be a mantra of positive self talk and a celebration of the coast.”

Niko partly grew up in Georgia, spending summers on Florida beaches, an influence that shapes the concept-driven AMERICAN PALM. Written during his THESE ARE THE NIGHTS tour with producer Danny Majic and songwriter David J, the record blends coastal sounds—ukuleles, nylon-string guitars, ocean waves—with organic beats and a touch of ‘90s hip-hop, nodding to his Atlanta roots. The result is a seaside getaway in album form, equal parts carefree, romantic,and life-affirming.

Tracks like “I LOVE THIS BEACH” and “YOU, ME & A BEACH” capture that spirit. The latter, a love song linking his wife and the beach as his grounding forces, helped cement the record as his first concept album. “SANDBAR” delivers a euphoric summer vibe, while “SANDCASTLES” reflects on life’s impermanence. “KING OF THE ISLAND” is a family
milestone—co-written and sung with his father, Cris Cowan.

Niko’s journey began early, inspired by his dad, a truck driver and drummer who introduced him to John Prine and Emmylou Harris. Niko picked up drums at eight, guitar at fifteen, and started playing in bars while working construction. A chance encounter with Zac Brown led to songwriting cuts like “Homegrown,” before Niko launched his solo career with “GOOD TIME,” a No. 1 hit on both Billboard Country Airplay and Hot Country Songs charts. From the start, he committed to making only positive music: “In a way a song is like a mantra, and I want mine to carry optimism and encouragement.”

Since his debut, Niko has sold out the Ryman, played major festivals like Stagecoach, and performed on The Tonight Show Starring Jimmy Fallon and Jimmy Kimmel Live!. Beyond music, he and his wife Anna founded the Happy Cowboy Foundation to support mental health and addiction recovery, and launched Happy Himalayan water and the American Palm clothing line, both of which benefit the foundation.

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

Die deutsche Metalcore-Band Annisokay, 2007 in Halle (Saale) gegründet, hat sich stetig zu einer der spannendsten Heavy-Acts Europas entwickelt. Seit ihren frühen Demos und selbstveröffentlichten EPs hat die Band sechs bedeutende Releases herausgebracht – darunter die »Abyss Pt I & II EPs« – sowie fünf Studioalben, von denen jedes einen deutlichen Entwicklungsschritt in Sound und Reichweite markiert.

Live sind Annisokay ebenso unaufhaltsam: Mit der Abyss Tour und vor allem der »Abyss Pt II Europe«-Tour haben sie ihre explosive Bühnenenergie auf ein neues Level gehoben. Letztere gilt als die größte Headline-Tour ihrer Karriere mit 30 Shows in 14 Ländern, begleitet von ihren bislang größten Festivalauftritten, unter anderem beim Summer Breeze und Wacken Open Air.

2025 steht die Band kurz davor, diese Ära mit »Abyss – The Final Chapter« abzuschließen – Veröffentlichung im November 2025. Dieses Werk vereint Pt I und Pt II zu einem kraftvollen Gesamtstatement und markiert den Höhepunkt ihres bislang ambitioniertesten Projekts.

Die deutsche Metalcore-Band Annisokay, 2007 in Halle (Saale) gegründet, hat sich stetig zu einer der spannendsten Heavy-Acts Europas entwickelt. Seit ihren frühen Demos und selbstveröffentlichten EPs hat die Band sechs bedeutende Releases herausgebracht – darunter die »Abyss Pt I & II EPs« – sowie fünf Studioalben, von denen jedes einen deutlichen Entwicklungsschritt in Sound und Reichweite markiert.

Live sind Annisokay ebenso unaufhaltsam: Mit der Abyss Tour und vor allem der »Abyss Pt II Europe«-Tour haben sie ihre explosive Bühnenenergie auf ein neues Level gehoben. Letztere gilt als die größte Headline-Tour ihrer Karriere mit 30 Shows in 14 Ländern, begleitet von ihren bislang größten Festivalauftritten, unter anderem beim Summer Breeze und Wacken Open Air.

2025 steht die Band kurz davor, diese Ära mit »Abyss – The Final Chapter« abzuschließen – Veröffentlichung im November 2025. Dieses Werk vereint Pt I und Pt II zu einem kraftvollen Gesamtstatement und markiert den Höhepunkt ihres bislang ambitioniertesten Projekts.

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

GIRASOLES is the ninth studio album from multi-platinum singer-songwriter Jay Wheeler. In what many will find is some of his most personal work to date, it’s clear that music is his refuge, with the album representing the birth of a renewed version of himself. The moving 15-track album musically represents three stages: difficulties faced in life (represented by planting a seed), a period of transformation (growth), and maturity (a full bloom). GIRASOLES represents the feeling of being stuck, life’s challenges and the moments where personal growth seems impossible. However, as you mature through time, overcoming challenges and obstacles, you bloom into something beautiful. The message is clear: “Never settle and keep working on yourself, show love to others, and continue to evolve despite difficulties, just as sunflowers continue to grow toward the light,” Wheeler expressed. “People talk about outcomes, but no one talks about the process of getting there. This is ‘Girasoles,’ an album full of emotions, showing my evolution as an artist and a man. I want fans to identify with each track and make it their own,” shared Jay Wheeler about “Girasoles”, an album dedicated to the three most important women in his life: Zhamira (his wife), Aiunii (his daughter), and his mother. 2xLP, pressed on Canary Yellow Vinyl and housed in a Gatefold Jacke

"Chasing the funky symphonies that filled my head and my dreams..."

December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.

"I'd release that", Rob commented.

Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.

You will not believe the profound soulful genius contained within these naive schoolboy melodies.

December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.

In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."

Hell, he can do that now!

Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.

The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.

Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."

"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.

"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."

Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.

This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."

The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

"• Brand new act formed and fronted by Cormac Neeson of The Answer.
• Neeson gathered together a stellar cast of Northern Irish musicians steeped in the alternative folk, Americana, blues and rock scenes to form California Irish.
• Recorded using analogue techniques straight to tape in just four days, ‘The Mountains Are My Friends’ is a love letter to the Laurel Canyon-era West Coast of the 60s and 70s.
• Debut single ‘Big Questions’ leads the campaign and is released on March 28th. Two more singles to follow.
• The band recently made their live debut and will headline Belfast Empire on May 16th

• Neeson has enjoyed global success with The Answer, including world tours supporting AC/DC, UK Top 30 albums, UK No.1 Rock Albums and appearances at major festivals across Europe.
• Full press and radio campaign for the UK in place, with dedicated Irish promo team in addition.
• Full digital marketing campaign has been underway since the turn of the year, gathering over 2000 people onto the California Irish mailing list even before any music has been released
"

Jedes Album von BC Camplight hat eine Hintergrundgeschichte, die genauso fesselnd ist wie seine Musik. A Sober Conversation ist da nicht anders, denn der virtuose Songwriter und Pianist Brian Christinzio dokumentiert die letzten zwei Jahre seines Lebens, in denen er sich endlich einem schockierenden Kindheitstrauma stellt, während er sich der Nüchternheit verschreibt, um sein mutigstes und aufschlussreichstes Album zu schaffen. Es handelt sich um ein fesselndes, manchmal eindringliches Quasi-Konzeptalbum, das von schonungsloser tragikomischer Läuterung und erhabener, komplexer Melodik geprägt ist und lyrische Drehbücher mit schillernden Arrangements verbindet. Es ist BC Camplight auf dem Höhepunkt seiner bemerkenswerten Fähigkeiten.

A Sober Conversation folgt auf Christinzios Album aus dem Jahr 2023, das von der Kritik gefeierte The Last Rotation Of Earth (sein erstes Top-40-Album), ein Album, das sich um die quälende Trennung von seiner langjährigen Beziehung dreht. Es erhielt die enthusiastischsten Kritiken seiner Karriere – „Ein Meisterwerk“ (Sunday Times), „Meisterhaft“ (Uncut), „Eine außergewöhnliche Platte“ (MOJO) – und seine bisher größten Headline-Shows im Londoner Shepherd’s Bush Empire und in der Manchester Albert Hall. Doch selbst die zunehmende Anerkennung für das beachtliche Talent des Mannes kann die lange Geschichte seiner Depressionen nicht ausgleichen, und Christinzio gibt zu, dass es ein harter Kampf war, diesen Punkt in seinem Leben zu erreichen.

Where the Butterflies Go in the Rain is the third studio album from the enchanting songstress, Raveena. Blending powerful storytelling with early 2000s pop, Where the Butterflies Go in the Rain sees music continuing to play the central role as both a catalyst and medium in her personal and creative growth. With newfound clarity, Raveena delves into themes of new love, maturity, comfort, and domesticity that reflect the peace of mind she currently inhabits. Speaking on this evolution and how it informed the album’s creative, she shares, “Butterflies are so delicate that they have to hide in leaves and flowers until the rain passes so that their wings don’t get crushed in the rain. I felt like that was kind of a metaphor for where I was in my life. I needed to go back to comfort—to deep rest—and stop weathering storms.” On the most instinctual level it’s an album that should conjure simple pleasures like the joy of a summer road trip with loved ones.

Embracing the sounds of classic artists like Fleetwood Mac, Brandy, Bob Marley, Joni Mitchell, and Marvin Gaye, to name a few, Where the Butterflies Go in the Rain draws inspiration from people who, “are really good at capturing the beauty and loss of life in the same breath,” she describes. In her signature style, Raveena seamlessly unites that expansive songwriting with traditional Indian instruments and feel-good early 2000s pop hits —putting forth a work that’s more unabashedly herself than any that’s come before.

Raveena reflects on her forthcoming album, “I don't think I've ever understood a record so well before—It wasn’t like the process I used to have with past albums where I was more anxious about being at my best. This time, it was all intuition, and I knew the album was right when I finally had the feeling of rest.”

The deluxe release sees the addition of 3 tracks. Sun Don't Leave Me - contemplating the feeling of wanting to hold onto one more beautiful sunset, one more passionate embrace, before things change again and hard times strike again - and a reimagined version of Lose My Focus with UMI, bringing fresh energy to an album that’s more unapologetically Raveena than ever.

‘The Return of Pachyman’ is a supernatural force
from a brave new world that’s a little bit San Juan,
a little LA, and a whole lot of Channel One in
Kingston, Jamaica. Designed to be a resurrection
of sound systems from the past through which we
can celebrate a post-Trump future, the record
shows that blasting off into reggae’s deep space
has never gone out of style.
Pachy García (aka Pachyman) is perhaps best
known as the drummer / vocalist for the LA-based
band Prettiest Eyes, a unique pop-noise project
that reflects his other formative interest, synth
punk. He thinks of ‘The Return of Pachyman’ the
same way King Tubby might - an ‘X-ray’ of reggae
music, breaking it down to its bare bones.
Originally a guitarist, he moved to Los Angeles in
the early 2010s and developed his passion for
dub. From there, he started recording bass, drums
and piano and collecting recording equipment in
his basement studio, which he calls 333 House.
With ‘The Return of Pachyman’, García wants to
show how the Caribbean flow is transnational, a
vibe that resounds from Jamaica to San Juan to
Southern California. “With this project, I was
looking to make positive music and radiate good
energy; something to kinda disconnect from the
negative things that were happening at the
moment,” Garcia explains. “I am trying to make this
project a service for humanity in the sense that I
just wanted to shine a positive light.”

If every significant artist has an underrated gem in its catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity after the dramatic tension of Rumours and experimental ambitions of Tusk, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group’s hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set presents Mirage in reference sound for the first time. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail.

Though Rumours understandably gets a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics on Mirage confirm that the record that stood as Fleetwood Mac’s last effort for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood’s percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects — separation, definition, impact, tonal balance — are also here in spades.

Like much surrounding Fleetwood Mac in the 1980s, arriving at Mirage was not easy. Caillat searched for studios located outside of Los Angeles on a mission to change up the vibe of the band’s prior recording sessions. Everyone settled on Le Chateau in France, where relations between some members remained icy — and cooperation with the producers strained. Battles with exhaustion, bitterness, and addiction further informed the proceedings at the 18th century complex in the French countryside, where even communal meals were allegedly eaten in silence.

Inevitably, the feelings that co-producer Lindsey Buckingham, Stevie Nicks, Christine McVie, and company harbored — as well as the situations in which they found themselves — drifted into the songwriting. In its rapid ascent to rock-star royalty status, Fleetwood Mac drifted apart, embarked on solo pursuits, and found it was lonely at the top. Emptiness, the illusion of dreams, the longing for love, the want to escape to bygone times of innocence and happiness: Such themes inform a majority of the narratives. Even if the lyrics regularly take a back seat to easygoing arrangements that allow Mirage to come on like a refreshing breeze on a sunny summer afternoon.

Home to three Top 25 singles in the U.S. and having occupied the pole position of the Top 200 album charts for five weeks, Mirage rightfully resonated with the mainstream and attracted listeners on both sides of the pond. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Not to mention the presence of what arguably remains Nicks’ signature song, the biographical “Gypsy,” a meditation on the loss of her close friend Robin Anderson that teems with majesty, mystery, and mysticism — and which gets an assist from Buckingham’s shaded tack piano and richly strummed guitar chords.

Its ranking as an all-time classic aside, that No. 12 hit has plenty of company when it comes to brilliant pop turns on Mirage. On the subject of Nicks, the raspy singer gets a little bit country on “That’s Alright.” Its clip-clopping pace and two-stepping progression complement subtle vocal swells that emerge during the final verse of a tune that is ostensibly about leaving but still conveys forgiveness and grace. And what would a Fleetwood Mac record be without Nicks drawing on the tools of the supernatural — cards, dreams, wolves, and the like — on the twirling “Straight Back.”

Despite the potency of Nicks’ primary contributions, Mirage seemingly unfolds as a tight competition between Buckingham and McVie — and one that ultimately ends in a draw. Buckingham’s salvos include the contagious “Can’t Go Back,” a yearning to time-travel back to the past that’s complete with hall-of-mirrors backing vocals; “Oh Diane,” out-of- left-field ear candy sweetened with hiccupped vocals and salt-and-pepper-shaken grooves; the chiming “Eyes of the World”; and “Empire State,” a delightfully fluttering track whose high-range vocals, lap harp notes, and ringing xylophones hint at the galaxies of sound that would erupt on Tango in the Night.

Then there’s McVie. As elegant, understated, and coolheaded as she’s ever been on record, she pours her heart out on cuts that revolve around her inevitable split with Beach Boy Dennis Wilson. In the process, she punctuates Mirage with a characteristic not always associated with catchy pop music: emotional weight, and the sense of dreaded acceptance in the face of dreams deferred.

“I wish you were here/Holding me tight,” McVie sings over a delicate melody on the album-closing piano ballad “Wish You Were Here.” Though they hoped otherwise, for the members Fleetwood Mac, distance and separation were always close at hand. Believing otherwise, inviting nostalgia, and pretending everything was fine only amounts to a mirage.

Having collaborated with John Carroll Kirby on his last two albums, Eddie Chacon teamed up with Nick Hakim to produce this new collection of songs of loving and letting go.

Low-key R&B legend Eddie Chacon returns with Lay Low, out January 31st. Having collaborated with John Carroll Kirby on his last two albums, Eddie Chacon teamed up with Nick Hakim to produce this new collection of songs of loving and letting go.

Poetry of the Deed is the third studio album by London-based singer-songwriter Frank Turner. Unlike Turner's previous solo albums, Poetry of the Deed was rehearsed, arranged and recorded with his full band. This marked a significant change in the singer songwriters musical output, spawning the singles ‘Poetry Of The Deed’, ‘Try This At Home’ and ‘The Road’. The video for ‘The Road’ saw Frank play 24 shows in 24 hours.. The successes of the third album included further Radio 1 daytime playlists, sessions with Zane Lowe and headlining a sold out show at London’s Shepherd’s Bush Empire and a few months later, The Roundhouse, London, setting him firmly on the course we see him on today, as a headline act the world over. Produced by Grammy nominated Alex Newport.

The inspiration comes from The rhythms that unite us, the sounds
that guide us on a meditative journey. The whole set maintain a
development and exquisiteness in each note and section that
flood you with a hypnotic and essential groove, offering an
immersive and captivating experience as result.
--
This is an odd to unity!
A long time ago in the Mongolian steppe, people from the Khori,
the Kiyat and the Sunud decided to unite their forces with other
tribes to fight against the oppression of Western forces. The tribal
leaders celebrated their union under the stars of Altan Ovo sacred
mountain. The Mongol Empire was born, the attackers were
defeated and the steppe found peace for centuries.
Don’t stay alone, go with your tribe and you’ll be able to move
mountains!

Skinshape (aka Will Dorey) releases his ninth studio album titled Another Side Of Skinshape on 27th September via Lewis Recordings. As the album title suggests, Dorey’s latest body of work is somewhat unlike anything in his prior discography. However, there is always a consistent Skinshape thread which pulsates throughout all of his music - a kind of sonic dreamscape which echoes a mystical nostalgia for a sun dappled afternoon.

Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. Whilst ‘It’s About Time’ and ‘Ananda’ display a slightly more synthesised palette than we typically hear of a Skinshape tune, singles ‘Stornoway’ and ‘Lady Sun’ (which features the hazy soul vocals of West London’s Hollie Cook) replicate the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis.

Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.”

Whilst making this album, Dorey experimented with various keyboards and drum machines, which are at times layered over the excellent drumming of Thomas Blunt, who played live onto tape. Blunt is well versed in the Skinshape vernacular, also being part of Dorey’s live band. Indeed, Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road.

Dorey is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherd’s Bush Empire to name a few. Skinshape’s ‘I Didn’t Know’ has streamed over 50 million times. He is proudly from Swanage, Dorest.

From Cape Town to Cairo, and now to fans, stages and screens around the world, PJ Morton shares his newest album, fully made in the motherland. Cape Town to Cairo is a collection of songs that he created in 30 days throughout 4 countries in Africa — South Africa, Nigeria, Ghana and Egypt. Described as the best trip of his life, this transformative journey began as just the seed of an idea last fall, but instantly grew into his most sonically-sprawling and immediately-inspired record to date. With no music, lyrics or preconceptions, he stepped foot onto the continent with two thoughts: a wild dream to write and record his next LP in less than a month, and a mission to immerse himself in as many different cultures, stories and communities as he could.

Surrounded by featured collaborators like Fireboy DML, Mádé Kuti, Asa, Ndabo Zulu, and Soweto Spiritual Singers, as well as additional producers including P.Priime and The Cavemen., his own live band and local musicians, PJ Morton used music as his common language. Always his greatest way of communicating, he expressed his feelings and experiences of Africa through songs he and others were forming together on the spot, side-by-side in different studios, cities and towns for the very first time. None of the tracks were written before he arrived or after he left, and the arrangements showcase both the countries’ native genres as well as the innate, stylistic instincts that have made Morton a 5x GRAMMY-winner and 20x GRAMMY-nominee, whether it be his soul, R&B and gospel roots, or the pop prowess he has further honed as a member of Maroon 5.

“When you’ve been in music as long as I have, you’re constantly looking for inspiration,” says PJ Morton. “And you’re looking for the things that made you want to do it in the first place. I’ve made albums every type of way you can think, so I wanted to try something I hadn’t done before. As a Black American who had never been to South or West Africa, I knew there was something there waiting for me. So I put a little pressure on myself to make a full record in a month, but I also said, ‘If I’m gonna go to Africa, I want to see Africa.’ We made music, but we also formed connections. We made new friends, and this is just the start.”

ESSENCE adds, "This trip is not just a physical move, it's a spiritual return…The soul of Africa pulses through every note he plays and every word he sings,” and VIBE adds that “the multi-faceted artist is fully embracing a new phase in his life.” Cape Town to Cairo marks PJ Morton’s first album since 2022’s Watch The Sun, which featured collaborations with Stevie Wonder, Nas, JoJo, Wale, Jill Scott, Alex Isley and more. Since then, Morton has become the first Black composer to write an original song for a Disney attraction, having just finished making the music for Tiana's Bayou Adventure, opening on June 28th, 2024 at Disney World and Fall 2024 at Disneyland. He also won his latest GRAMMY earlier this year, worked with Samara Joy on “Why I’m Here” for Regina King’s Netflix film Shirley, and landed a cover of his song “Don’t Let Go” as the soundtrack to Apple’s iPhone 15 commercial.

PJ Morton recently returned from headlining his debut shows in Asia, New Zealand and Australia, and announced an extensive Cape Town to Cairo Tour for North America summer and fall 2024. Following iconic performances at New Orleans Jazz Fest, The Kennedy Center, Roots Picnic and Newport Jazz Fest, Morton will embark on a run of more than 25 dates across the country, including New York City’s Beacon Theatre, Chicago’s Chicago Theatre, Nashville’s Ryman Auditorium, Los Angeles’ The Wiltern, and dozens of others.

On the heels of his headline tour and Maroon 5’s Las Vegas residency, PJ Morton will publish a life-spanning new book titled Saturday Night, Sunday Morning. The memoir sees him recounting and reflecting upon a trailblazing path that continues to defy expectations and straddle the tensions of music and faith, race and culture, expression and identity. As the son of two pastors and gospel artists, Morton grew up grounded by the sound of the Church, but soon found himself drawn to R&B, pop and soul, writing songs that the industry, his family and community struggled to understand. In the face of mounting pressure, rejection and constant miscategorization, he committed himself to a steadfast path of independence: making music on his own terms, launching his own record label, joining one of the biggest bands in the world while staying true to his New Orleans roots. The risks he took paid off, and through his transformation from preacher's kid to the busiest man in showbiz – performing everywhere from his local congregation to the Super Bowl, collaborating with everyone from his father to Stevie Wonder, Erykah Badu, Jon Batiste and Lil Wayne – he hopes to encourage readers and listeners to overcome obstacles as they seek their dreams.

Nilüfer Yanya veröffentlichr ihr neues Album ‘My Method Actor’ auf Ninja Tune!

Während sie am neuen Album schrieb, zog sich Nilüfer mit ihrer kreativen Partnerin Wilma Archer (Sudan Archives/ Celeste) ins Studio zurück. Sie war ein Jahr lang mit ihrem zweiten Album „PAINLESS“ auf Tournee und befand sich in einer Phase des Übergangs, zwischen Alben, zwischen Plattenfirmen und zwischen Wohnorten. „My Method Actor“ hat viel mit der Idee zu tun, von einem Lebensabschnitt in einen anderen zu wechseln. Die Samen für „My Method Actor“ wurden Anfang 2023 gepflanzt, aber erst im Frühjahr desselben Jahres begannen die ersten Triebe zu sprießen. Als die Songs zu entstehen begannen, zogen sich Yanya und Archer von der Welt zurück. „Dies ist in dieser Hinsicht das intensivste Album.“, sagt Yanya. „Weil es nur wir beide waren. Wir haben niemanden sonst in diese Blase gelassen.“ Sie schrieben und nahmen in kleinen Sessions auf, verteilt über London, Wales und Eastbourne. Die Atmosphäre des Albums spiegelt diesen Kokon kreativer Energie wider: Es umhüllt die Hörenden mit cineastischen Schwüngen und wirkt gleichzeitig intim, indem es ihn in die kleine Welt einlädt, die sie geschaffen haben, und seine Geheimnisse preisgibt.

Nilüfers vorheriges Album, „PAINLESS“, wurde durchweg als eines der herausragendsten Alben des Jahres 2022 gefeiert, mit glühenden Kritiken von The Guardian (Album der Woche), The Sunday Times, Crack Magazine, NME und anderen. Das Album enthält die herausragenden Tracks, „anotherlife“, „stabilise“ und „midnight sun“, die Nilüfer in der „Tonight Show Starring Jimmy Fallon“ performte. Nilüfer trat auch in „Late Night with Stephen Colbert“, „Later with Jools Holland“ und in der Tiny Desk-Konzertreihe von NPR auf.

Sie hat Adele, The xx und Mitski auf ihrer Tournee begleitet, war Headlinende im Londoner Shepherd's Bush Empire und hat Shows in ganz Europa, Australien, Japan und den USA ausverkauft. Yanya wurde auch von Sampha, King Krule und Little Dragon geremixt und hat mit Bombay Bicycle Club und Liss zusammengearbeitet.

Nilüfer Yanya veröffentlichr ihr neues Album ‘My Method Actor’ auf Ninja Tune!

Während sie am neuen Album schrieb, zog sich Nilüfer mit ihrer kreativen Partnerin Wilma Archer (Sudan Archives/ Celeste) ins Studio zurück. Sie war ein Jahr lang mit ihrem zweiten Album „PAINLESS“ auf Tournee und befand sich in einer Phase des Übergangs, zwischen Alben, zwischen Plattenfirmen und zwischen Wohnorten. „My Method Actor“ hat viel mit der Idee zu tun, von einem Lebensabschnitt in einen anderen zu wechseln. Die Samen für „My Method Actor“ wurden Anfang 2023 gepflanzt, aber erst im Frühjahr desselben Jahres begannen die ersten Triebe zu sprießen. Als die Songs zu entstehen begannen, zogen sich Yanya und Archer von der Welt zurück. „Dies ist in dieser Hinsicht das intensivste Album.“, sagt Yanya. „Weil es nur wir beide waren. Wir haben niemanden sonst in diese Blase gelassen.“ Sie schrieben und nahmen in kleinen Sessions auf, verteilt über London, Wales und Eastbourne. Die Atmosphäre des Albums spiegelt diesen Kokon kreativer Energie wider: Es umhüllt die Hörenden mit cineastischen Schwüngen und wirkt gleichzeitig intim, indem es ihn in die kleine Welt einlädt, die sie geschaffen haben, und seine Geheimnisse preisgibt.

Nilüfers vorheriges Album, „PAINLESS“, wurde durchweg als eines der herausragendsten Alben des Jahres 2022 gefeiert, mit glühenden Kritiken von The Guardian (Album der Woche), The Sunday Times, Crack Magazine, NME und anderen. Das Album enthält die herausragenden Tracks, „anotherlife“, „stabilise“ und „midnight sun“, die Nilüfer in der „Tonight Show Starring Jimmy Fallon“ performte. Nilüfer trat auch in „Late Night with Stephen Colbert“, „Later with Jools Holland“ und in der Tiny Desk-Konzertreihe von NPR auf.

Sie hat Adele, The xx und Mitski auf ihrer Tournee begleitet, war Headlinende im Londoner Shepherd's Bush Empire und hat Shows in ganz Europa, Australien, Japan und den USA ausverkauft. Yanya wurde auch von Sampha, King Krule und Little Dragon geremixt und hat mit Bombay Bicycle Club und Liss zusammengearbeitet.

During autumn 2018, after moving to Germany, Aron Ottignon met Senegalese musician and percussionist Bakane Seck, founder and leader of the Jeri JeriBand, in his Berlin studio. This first meeting gave rise to a special connection between their instruments and the start of a musical adventurethat transcends borders, an instrumental conversation of profound simplicity nourished by the richness of jazz, electronic music and Wolof tradition. The brainchild of composer and producer Aron Ottignon and percussionist Sabar Bakane Seck, Aron & The Jeri Jeri Band (A&TJJB) was born at the crossroads between Berlin and Dakar and oscillates between the frenetic rhythm of mbalax, the strength of afrobeat, the warmth of afro funk and the eï¬Çervescence of jazz. Born in New Zealand, the pianist released a series of critically acclaimed jazz albums in the 2000s. As a composer, Aron Ottignonhas collaborated with Stromae, toured the world with Woodkid and worked with a host of artists including Electric Wire Hustle, Louane,Broken Back, Empire Of the Sun and Myele Manzanza. Senegalese musician and griot Bakane Seck"s mastery of the Sabar - "percussion instrument" in Wolof - has taken him all over the world alongsideAfrican music icons such asYoussou N"Dour and Baaba Maal.

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

Dieser Tage erscheint das Ted Kessler Buch "To Ease My Troubled Mind: Die autorisierte unautorisierte Geschichte von Billy Childish". Als die Idee für das Buch die Idee für das Buch aufkam, wollte Billy ein prägnantes Doppelalbum zusammenstellen, das die 47 Jahre seines musikalischen Schaffens zusammenfasst. Dies ist das Ergebnis. Mein Name ist William Ivy Loveday, alias Steve Hamper, alias Guy Hamper, alias Jack Ketch, alias Billy Childish. Ich wurde in Medway, Kent, geboren, wo ich immer noch lebe. Ich verließ die Schule 1976, als ich 16 war. Da ich keinen Schulabschluss hatte, wurde ich von der Kunstschule abgelehnt und ging in der Werft von Chatham als Steinmetzlehrling arbeiten. Später schaffte ich es, aufgrund meiner Bilder in einen Malkurs an der St. Martin's School of Art aufgenommen zu werden. Ich, Bruce, Big Russ und Little Russ gründeten 1977 The Pop Rivets und machten unsere ersten Aufnahmen. Unsere Inspiration war Punkrock, TV21 und The Swinging Blue Jeans. Ich lernte Gitarre zu spielen und arbeitete 1979 vier Wochen lang im Oakwood Mental Hospital als Pförtner, dann gründeten ich, Mick und Bertie The Milkshakes. Unsere Inspirationen waren Link Wray, die Beatles-Live-at-the-Star-Club-LP, der Song "Gotta Get the First Plane Home" von den Kinks und unser Hass auf die New Romantics-Szene. Dann wurde ich von der St. Martin's School of Art verwiesen, weil ich etwas geschrieben hatte, das als "die schlimmste Art von Toilettenwand-Humor" bezeichnet wurde. Ich verprügelte meinen Vater, als er aus dem Gefängnis kam, wo er wegen Drogenschmuggels gesessen hatte. Wir haben uns bei The Milkshakes nie selbst bezahlt und das ganze Geld in die Herstellung unserer eigenen Platten gesteckt. Ich bewahrte das Geld auf einem Bankkonto unter dem Namen Kurt Schwitters auf. Ich lebte 12 Jahre lang von der Sozialhilfe. Im Jahr 1985 gründeten wir Thee Mighty Caesars. Unsere Inspiration waren Bo Diddley und The Troggs. Ich wurde Mitglied von Greenpeace. 1989 gründeten Bruce und ich Thee Headcoats. Unsere Inspiration waren Son House und Downliners Sect. 1999 gründeten ich, Wolf und Johnny Barker The Buff Medways. Unsere Inspiration war Jimi Hendrix in Beatle-Stiefeln und The Who, bevor Roger Daltry anfing, die Vorhänge seiner Oma zu tragen. Etwa 2008 gründeten Julie und ich The Musicians of the British Empire. Daraus wurde dann CTMF. Daraus wurden dann die Chatham Singers. Unsere Inspiration basierte auf uns selbst. Als Nächstes war es an der Zeit, dass Neil und ich die Spartan Dreggs gründeten, inspiriert von Homer und A. E. Housman. Andere Gruppen entstanden und zerfielen - damit niemand wusste, wer wir waren oder warum. Im Jahr 2019 entstand The William Loveday Intention - inspiriert von Hollis Brown und den Mississippi Sheiks. Das Guy Hamper Trio tauchte noch einmal auf, zusammen mit Jamie an der Hammond. Einige dieser Gruppen sind geblieben, viele haben sich zu fernen Ufern mit scharfen, versteckten Felsen aufgemacht. Hauptsächlich male ich und schreibe Gedichte und Romane. Zusammen mit der Musik, die ich spiele, ist nichts, was ich tue, jemals besonders modisch gewesen, aber genau darum geht es auch. Schon 1977 haben wir gerne Nein gesagt. Dann, als der Punk sich in New Romantic verwandelte, fielen wir in den frühen Rock 'n' Roll und den Blues zurück. Bei The Milkshakes sagte man uns, dass wir zu viele LPs veröffentlichten und damit kommerziellen Selbstmord begingen, also brachten wir an einem Tag vier verschiedene LPs heraus. Ab und zu kommt jemand Berühmtes vorbei und ein kleiner Krümel rollt über den Tisch und spritzt in unsere lauwarme Suppe. Ein anderes Mal eifern uns Unbekannte nach und erweisen sich nur als besser. Ich liebe Pop, aber keine Popstars. Ich interessiere mich nur für Klang und Farbe und das in einem kleinen Maßstab zu sein. Ich verstecke mich nicht hinter Lautstärke und Off-Stage-Mixing. Ich brauche keine Show zu spielen, weil ich lieber daheimsitze und eine Tasse Tee trinke. Meine Arbeit gehört nach unten, zum Instinkt und zum Elementaren, und ist nahe am Boden. Ich glaube an selbstgemachte Musik, selbstgemachte Kunst und selbstgemachtes Kochen. Die Musik war über die Jahre hinweg ein lohnendes Hobby. Ich habe viele gute Freunde getroffen und mit ihnen gearbeitet, und Gott hat mich vor dem Ruhm bewahrt. Ich möchte die Straßenbahn und das Pferd zurückbringen.

IMPERA finds Ghost transported literally hundreds of years forward from the 14th century Europe Black Plague era of its previous album, 2018’s Best Rock Album GRAMMY nominee Prequelle. The result is the most ambitious and lyrically incisive entry in the Ghost canon: Over the course of IMPERA’s 12-song cycle, empires rise and fall, would-be messiahs ply their hype (financial and spiritual alike), prophecies are foretold as the skies fill with celestial bodies divine and man-made… All in all, the most current and topical Ghost subject matter to date is set against a hypnotic and darkly colorful melodic backdrop making IMPERA a listen like no other — yet unmistakably, quintessentially Ghost. New repress on a limited edition colourway.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.
‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.
Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.
When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.
Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.
‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.
This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

Empires rise and fall every day in the human heart, and riding these cycles--stories with no beginning or end, only transformation--churns us through the reckless, ridiculous, rueful, redemptive. A founding member of Lake Street Dive and writer of some of their most enduring songs, Iowa-born and Brooklyn-based Bridget Kearney is known for writing smart, unexpected lyrics and melodies built for a heart-baring dance or an introspective drive. Kearney writes music as if filtered through a camera lens. Her stories, steeped in nostalgia and joy, construct a bittersweet framework around the memories that make us human, and shape who we are. As the absurdity of life abounds, Kearney can hold these fragile snapshots and rolling reruns with evident notes of levity, and compassion for a past self. On her new album Comeback Kid, produced by Dan Molad (Lucius, Buck Meek), there are reminders to cherish the moments that make up the collage of what we see in the mirror, but to also plant our feet firmly in the present, for those are the times that will come to form the future. The tracks hop through time, from the relentless, obsessive romanticization of the past, to unrestrained lust for a different future, all inherit the spirit of resilience needed for any move forward, whether it's to dive back in, walk away, or wrestle with the memory itself. In moments, our Comeback Kid wishes to encase a night in amber to revive it at will, like the old man in Jurassic Park, but ultimately is hip to the bittersweet truth that it will never be the same when you return. Kearney began making Comeback Kid back in 2021, in between her work with Lake Street Dive, and a new position as a songwriting teacher at Princeton University. During the process of Comeback Kid, Kearney took inspiration from her Princeton students, as well as her peers when she embarked on a song-a-day workshop. As she found herself surrounded by the thoughts and processes of others, she was able to pinpoint what it is about songwriting that she truly cherishes: namely, the textures and flourishes that come to form the mood of each creation. Comeback Kid is soaked in vintage synths, Kearney's soughing vocals and delicate-yet-driving percussion that ushers in a bright and serene tenor. "If you're driving, baby I wanna go," she soothes on opener "If You're Driving," welcoming us to the LP with windows down, eyes closed, air rushing through our fingers. It's a celebration of staying in the moment, of saying "yes," even though you know it won't last forever. With references to real psychological games, like Rorschach tests and the phenomenon of Ironic Process Theory, they help build the theme of the mind bending nature of obsession, memory, and perspective. Just like the acrobatic brain games we play in relationships, Kearney plays with language and references, with multiple meanings of "comebacks and coming back," and nods that run the gamut from Samuel Barber's mid-20th century masterpiece Adagio for Strings to Jerry Seinfeld's late-20th century masterpiece Seinfeld. The single "Security Camera" captures the carefree liminal space of reminiscence, as Kearney collects those significant, special moments of a past love. There is no animosity or even sorrow here but rather a warm, propulsive rush of gratitude and awe. "You have these really wonderful, blissful times in your life that are fleeting," she explains. "It's an attempt to keep loving the moments in your past, to carry them with you." These moments are carried with care throughout Comeback Kid, but with an eye on the farcicality of simply existing. Kearney is both sincere and silly, somber yet spirited, expertly gathering the iridescent spectrum of what it means to be alive.

High Roller Records, picture vinyl, ltd 500, handnumbered, deluxe plastic bag, cardboard insert, mastering by Patrick W. Engel

Repress!

Co-producered by Clarence Reid & Willie Clarke in 1971 this is another gem from the vaults of Henry Stone's Miami funk empire.
Repressed and re mastered in conjunction with the rights holders on a dinked 7" for 2016.

A white convertible drives off into the sunset to the sound of Save you ft. Surahn and its funky, dance-inducing mantra, the first single to herald this road trip to the edge of space. Whether on cathartic beaches (Breath) or a desolate landscape: First Wave, Shades of Black, Who am I, Stars or Ghosts and its conquering lasers, Peter's music transports us into a cinematic world
(Night Road), where the synth-pop of M83 would have fused with the pop-rock of Supertramp and Fleetwood Mac (Burning House ft. Goldilox). A radiant production, wrapped in folk strumming, orchestrated by strings and keyboards with multicoloured diodes. A record that draws on the roots of timeless songwriting, enhanced by a modern, demanding electronic sound. The voice of Surahn (Empire of the Sun) returns to close the album with Open Your Mind and its flower power adlib: the closing credits of this first opus.

Work of Art is the second album from Nigerian-born singer-songwriter and global superstar, Asake. Building on the sounds from his explosive debut, Mr. Money With The Vibe (which became Billboard’s highest-charting debut album from a Nigerian artist), the 14-track Work Of Art showcases Asake’s winning formula of fusing traditional and contemporary African music into something equally unique and celebratory. The release also marked Asake’s second straight debut on the Billboard 200, and clocked in Spotify chart debuts at number 2 on the Global Albums chart and number 5 on the US Top Albums chart. With standout singles such as “Amapiano,” “2:30,” “Basquiat,” & “Sunshine,” the album highlights Asake’s innate ability to cut through to global audiences, making him one of 2023’s most intriguing artists to watch. Pressed on Green/White/Green Tri-Color Stripe Vinyl.

Accelerate ist das 14. Studioalbum von R.E.M. und wurde 2008 veröffentlicht. Das Album war als Abkehr
von ihrem letzten Album Around the Sun gedacht und wurde für den aggressiven, zielgerichteten Sound
der Songs gelobt. Stipe sagte, seine Texte auf Accelerate seien von der gegenwärtigen Lage der Nation
inspiriert: ”Wenn das Empire den Bach runtergeht, ist es einfach, großartige, wütende Songs zu schreiben”
(Spin). Es debütierte auf Platz 2 der deutschen Charts und hielt sich 23 Wochen lang in den Charts. Das
Album enthält den Fan-Favoriten ”Supernatural Superserious”.
“One of the best records R.E.M. have ever made.” — Rolling Stone
Verfügbar ab dem 17.11.2023 als 1LP.

Aussie icons The Cat Empire have had an illustrious career, spanning decades, genres, and millions of adoring fans from across the globe.

The Cat Empire veröffentlichen ihr neuntes Studioalbum, gleichzeitig ihre erste Veröffentlichung nach einem großen Personalwechsel in 2022. Das multikulturelle, australische Kollektiv ist für sein stilistisches Amalgam aus diversen Einflüssen von Jazz, Ska und Reggae über Funk, Latin und Hip-Hop bis zu Klezmer und Rock bekannt. 'Where The Angels Fall' wurde in ihrer Heimatstadt Melbourne aufgenommen und ist nach rund 20 Jahren das erste Zusammentreffen mit dem Produzenten Andy Baldwin, der auch für ihr selbstbetiteltes Debüt 2003 verantwortlich war.

"Shooting At The Sun" ist das siebte Studioalbum der britischen Hardrock-Band Thunder von 2003. Diese erweiterte Neuauflage enthält bisher unveröffentlichte, Bonus-Live-Versionen der Hits des Albums und ist zum ersten Mal seit über 30 Jahren als limitierte Doppel-LP in
lila und orange erhältlich.

Es war ihr erstes Album, nachdem sie sich zwei Jahre zuvor kurzzeitig getrennt hatten, und wurde als "möglicherweise ihr bestes, vielseitigstes Set von Songs seit dem Triumph von "Laughing on Judgement Day" von 1992" beschrieben.

Es enthält die Hits "Loser" und "Blown Away".

Das Imperium kehrt zurück.

Sechs Jahre nach der Veröffentlichung ihrer von der Kritik gefeierten Ode an den Hass, Poetry Of The Ill-Minded, legen die finnischen Symphonic-Black-Metal-Ikonen Shade Empire ihr neuestes anthologisches Meisterwerk in Form von 'Sunholy' vor. 'Sunholy' ist ein Wortspiel aus den beiden Begriffen 'Sonne' und 'unheilig' und macht von Anfang an deutlich, dass Shade Empire die Dualität von Licht und Dunkelheit, Gut und Böse, Heiligem und Ketzerischem aufschlüsseln wollen.

- Ltd. Col. LP: (White With Black Marble Vinyl)

Watch The Sun is the next studio album from the acclaimed musician, PJ Morton. Following a prolific and remarkable creative run that saw 5 consecutive years of GRAMMY Nominations and 6 LPs since 2017, Watch The Sun aims to take a step back from it all. Looking to escape from outside noises and influences, PJ Morton chose to record in the secluded and storied Studio In The Country, where Stevie Wonder worked on 1979’s Journey Through The Secret Life of Plants, and artists like Allen Toussaint, Betty Davis and Dr. John have all recorded. Featuring the previously released “Please Don’t Walk Away,” & “My Peace,” the album is set to be his biggest and most anticipated release to date, delivering one of the most expansive sonic palettes he has ever developed as producer. Watch The Sun includes appearances from JoJo, Mr. Talkbox, Chronixx, Stevie Wonder, Nas, Wale, Jill Scott, Alex Isley, El Debarge, Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel 'MusiqCity' Walls.