Buscar:energy 52

Born out of the Northern California DIY scene, Moms With Bangs started as a ragtag group of high schoolers looking to build a musical community filled with loud, chaotic, unfiltered energy. Quickly becoming known for their loud experimental sound and unhinged live shows. Moms With Bangs become legendary for being high-volume, high-energy, and having zero barrier between them and their audience. It was these qualities that caught the attention of Jello Biafra
himself, who was so impressed he signed them to his label Alternative Tentacles Records, making Moms With Bangs the youngest signing in the history of the label. Recorded at Tiny Telephone in Oakland, CA over the course of two days in January of 2024, Leo Hirsch, Michael Cook, Austin Kennedy, Axel Sanchez, and Oliver John live-tracked these songs in one large recording room, recording at the same time facing each other, to make sure the recording captured the unfiltered energy of the live show as much as possible. As for the name of the 7”? “Do What’s Delicious” came from a suggestion from Jello Biafra himself, while the band was in the studio, as a name he once considered for a Dead Kennedys release. The two tracks on “Do What’s Delicious” capture the throttling high energy rhythms of bands like Thee Oh Sees. Showcasing an affinity for the off-kilter groove of bands like Deerhoof or Black Midi. Moms With Bangs aims to disgust and delight with no limits! We couldn’t be more excited.

Wewantsounds is delighted to announce the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan"s leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan"s music scene during the decade. Compiled by Nick Luscombe-who previously curated Tokyo Dreaming for the label-the set marks the first time Hitomi"s music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny"s work and its role in the evolution of Japanese funk and groove culture.

In April 2003, Secret Affair returned to the stage at London’s legendary Scala for a show that captured everything fans love about the band: sharp songs, soulful playing, and the unmistakable fire of the Mod revival spirit.
Live at the Scala brings the energy of that night back to life, presented in stunning audio across double vinyl & 2CD. From the driving beat of Time for Action to the passion of Let Your Heart Dance and the punch of My World, the Scala setlist is a powerful reminder of why Secret Affair remain one of the defining bands of their era.
RECORDED AT THE SCALA, LONDON, 18th JUNE 2003 and released on vinyl for the first time.
The Original Secret Affair Line-up
Ian Page - Vocals, Trumpet
David Cairns - Guitar, Backing Vocals
Dennis Smith - Bass
David Winthrop - Drums
Paul Bultitude – Saxophone

Forever's spirit is high and tight, its sinews rumbling with communal joy as Glyders' power-trio formation, in it "for life", grooves deep into their own thing. Shuffling the deck with road-tested jams and a couple immaculate old-school tunes, Forever hits with the energy of a first album - which it kinda is, now that founders Joshua Condon and Eliza Weber have met their true other, the relentless traps-man Joe Seger. Forever starts now!

Forever's spirit is high and tight, its sinews rumbling with communal joy as Glyders' power-trio formation, in it "for life", grooves deep into their own thing. Shuffling the deck with road-tested jams and a couple immaculate old-school tunes, Forever hits with the energy of a first album - which it kinda is, now that founders Joshua Condon and Eliza Weber have met their true other, the relentless traps-man Joe Seger. Forever starts now!

The new album by "Thomas Sarrodie & Bi-Polar Blues" marks a fresh start, strongly inspired by the band"s participation in the International Blues Challenge in Memphis. This almost initiatory journey to the heart of Blues and Rock has ignited the energy and soul that make this new album the work of an inspired trio (guitar/vocals, double bass, drums), driven by the group"s extensive experience, yet remaining unique and original. With a guitar rooted in blues, blended with contemporary rock energy and 1960s psychedelic echoes, Thomas Sarrodie & Bi-Polar Blues captivates with its enchanting slides, a baritone tuning, a surprising double bass, and a swirling drumbeat. Formed twelve years ago by Thomas Sarrodie (guitar, vocals) and Sylvain Blanquiot (bass), the Thomas Sarrodie Group established itself on stages across Occitania with various drummers, until Jérémy Cazorla joined behind the kit. Influenced by Stevie Ray Vaughan and Jimi Hendrix, Sarrodie adds a personal touch, avoiding clichés, as evidenced by three studio albums and a vibrant live recording. Eager to evolve, the trio incorporated double bass, slide, and baritone tunings, reshaping their sound toward a rootsy blues while retaining rock energy. Renamed Thomas Sarrodie & Bi-Polar Blues, the group embarked on a new tour and the recording of an eponymous EP. This EP reflects their ambition to push boundaries, with compositions evoking the Delta or the Hills, tinged with R.L. Burnside"s influence, while honoring a 1960s tradition with a modern approach.

Born in Buenos Aires in 1934, Hector 'Costita' Bisignani is one of the leading figures in Latin American jazz. Settling in São Paulo in the late 1950s,
he quickly established himself as one of Brazil's most renowned flutists and saxophonists, collaborating with major artists such as Sérgio Mendes, Elis Regina,
Hermeto Pascoal, João Donato, and Gato Barbieri. His career also led him to play alongside Michel Legrand, Lalo Schifrin, Burt Bacharach, and Ray Conniff,

demonstrating his international influence. A founding member of Sérgio Mendes' Sexteto Bossa Rio, he contributed to the rise of Brazilian jazz by incorporating
local rhythms and bold compositions. He is also renowned as a teacher, making him a respected figure for several generations of musicians. With a career
spanning more than 70 years, he remains a pioneering figure in the history of Latin American jazz. 1981, now reissued, perfectly illustrates this creative freedom.

Recorded in the exuberant spirit of the 1970s and 1980s, it blendsbaião, jazz-funk, and Braziliansoul. Ledbyhissaxophone, flute,and clarone,andbackedbyhisGalleryClubband,

thisrarerecordingembodies the vibrant energy of a scene where experimentation and virtuosity went hand in hand.

Schwarzes Vinyl, limitiert auf 2500 stk weltweit + Auf EU Tour im Dezember

The next instalment in the classic DJ-Kicks series is a selection of rapturous house, blissed-out breaks, and transcendent rave from the high priestess of the motherbeat herself, Chicago"s Eris Drew. DJ, producer, musician, long-time resident at Chicago"s Smartbar, and co-creator of the T4T LUV NRG party and label, Eris Drew has been DJing since the early 90s, and has since taken her ecstatic house and high-energy, uncompromising mixing style to clubs, raves, and festivals worldwide. Eris" DJ-Kicks mix is 79 minutes of, as she puts it "the funky, emotional, ecstatic house-and-breaks backbone that defines my sound", and includes tracks, remixes, and exclusives by Moby, Calisto, DJ Garth, Onionz, DJ Who, Kair, Hoof, and Toka Project, as well as from Eris herself and partner Octo Octa. The result of countless hours of digging, her selection delves into the rattling breaks, rave stabs, and haunting strings of classic and lost "90s hybrid house-and-breaks jams, and matches them with more recent digs, the mix moving back and forth between emotive, bittersweet, and evocative, to raw, tough, and twisted with consummate ease.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

The Band Rotosphere has become a cornerstone of the Blues Festival Baden (Switzerland). Since 2005, led by guitarist and bandleader Nic Niedermann, they"ve been lighting up the festival"s legendary Late Night Jam Sessions. Over the years, they"ve shared the stage with blues icons such as Magic Slim, Susan Tedeschi, Coco Montoya, Justina Lee Brown and Chicago"s own blues harpist, Matthew Skoller. A truly magical moment unfolded in 2022 when Mark Slate took to the stage. The charismatic blues and soul singer captivated the audience from the first note with his powerful voice. Having spent years on the road with the "Joe Cocker Tribute Show", Slate embodies the raw and gritty essence of the blues. Now, performing alongside Rotosphere, they deliver original tracks brimming with energy, passion, and musical fire - an unforgettable experience for every listener!

"Hidden City" (2016) is The Cult"s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It"s the final part of a trilogy that witnessed the rebirth of the band, beginning with "Born Into This" (2007), which evolved into "Choice of Weapon" (2012), and arrived fully formed, kicking and screaming with the seductive "Hidden City". The sonic assault of "Dark Energy" is the perfect intro to this album. Peel away the layers of this 12-track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception. Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios.

"Hidden City" (2016) is The Cult"s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It"s the final part of a trilogy that witnessed the rebirth of the band, beginning with "Born Into This" (2007), which evolved into "Choice of Weapon" (2012), and arrived fully formed, kicking and screaming with the seductive "Hidden City". The sonic assault of "Dark Energy" is the perfect intro to this album. Peel away the layers of this 12-track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception. Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios.

"“The strongest Cult songs in years.” ★★★★ --The Guardian

Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios. Pressed on Limited Edition Coloured vinyl: LP1 red, LP2 white vinyl.

Hidden City is The Cult’s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It’s the final part of a trilogy that witnessed the rebirth of the band, beginning with ‘Born Into This’ (2007), which evolved into ‘Choice of Weapon’ (2012), and arrived fully formed, kicking and screaming with the seductive ‘Hidden City’

The sonic assault of ‘Dark Energy’ is the perfect intro to this album. Peel away the layers of this 12 track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception."

"“The strongest Cult songs in years.” ★★★★ --The Guardian

Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios. Cut at 45 RPM for a superior sound. Pressed on black audiophile vinyl at Optimal, Europe’s premium pressing plant. This CV 45 Edition comes with an individually numbered obi strip.

Hidden City is The Cult’s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It’s the final part of a trilogy that witnessed the rebirth of the band, beginning with ‘Born Into This’ (2007), which evolved into ‘Choice of Weapon’ (2012), and arrived fully formed, kicking and screaming with the seductive ‘Hidden City’

The sonic assault of ‘Dark Energy’ is the perfect intro to this album. Peel away the layers of this 12 track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception."

Leading Danish contemporary jazz label April Records is proud to present Well, actually..., the third album from Polish acoustic jazz quartet O.N.E. Grounded in the spirit of democracy andcollective improvisation, the album offers a tightly woven set of original compositions that blur the lines between modal jazz lyricism and the raw energy of free improvisation.The band name O.N.E. is a clever double entendre: in Polish, "one" (pronounced oh-neh) means "they" in the feminine plural - an apt nod to the all-female lineup. In English, of course, it signifies unity. Both meanings reflect the band"s egalitarian, leaderless approach and cohesive group sound.Almost three years after the recording of their previous release Entoloma(Audio Cave), the group reunited in December 2024 at Studio S4 in Warsaw to record a fresh set of ten compositions. Spread over two sides, the album captures the continued evolution of a band that thrives on interaction, trust, and shared purpose - even in a society fractured by post-pandemic socio-economic uncertainty and political ambiguity. Featuring contributions from all four members - pianist Kateryna Ziabliuk, saxophonist Monia Muc, bassist Kamila Drabek, and drummer Patrycja Wybranczyk - the recordreflects their commitment to artistic democracy. Each voice is given space, yet the music always feels greater than the sum of its parts. Even on the miniature solo track solo form, the other three players remain present, supportive, and responsive. From Ziabliuk"s percussive piano textures and dreamlike voicings on tracks like Osloand Berio, to Muc"s expressive, woody tone on alto and baritone sax, each piece explores dynamic interplay and shifting emotional landscapes. Drabek"s resonant, grounded bass - by turns lyrical and propulsive - provides a central thread, while Wybranczyk"s drumming fizzes with precision and imagination, as heard on Cipherand the angular closer Sneaking Around.Together, these four distinctive creative forces have developed a shared language built on mutual respect, long-term collaboration, and deep listening. Their concerts across Europe (including Jazzahead, B-Jazz, Umea, and the Edinburgh Jazz & Blues Festival) haveaffirmed their standing as a boundary-pushing group with something new to say.








[f] [SOLO FORM]

Produced by longtime collaborator Simon Dine, MKII captures a band reinvigorated, delivering their most confident and dynamic work to date. Sullivan"s sharp, incisive lyrics drivethe album"s freshsound and renewed energy. Frontman and founder Billy Sullivan sets the scene for the album by saying: "It sounds refreshed and confident, ballsy but doesn"t mind showing a softer side and being reflective too. For me it"s not a continuation of The Spitfires back catalogue, it"s very much the start of a new chapter. I"m incredibly proud, after all these years, to be talking about a new body of work which excitesme and inspires me more than ever." From the high-octane political pop of "The Great Divide!" to the moody intensity of "I"ll Never" and the reflective, Parisian- tinged "Grateful", MKII is a bold statement: The Spitfires are back-and stronger than ever.

Produced by longtime collaborator Simon Dine, MKII captures a band reinvigorated, delivering their most confident and dynamic work to date. Sullivan"s sharp, incisive lyrics drivethe album"s freshsound and renewed energy. Frontman and founder Billy Sullivan sets the scene for the album by saying: "It sounds refreshed and confident, ballsy but doesn"t mind showing a softer side and being reflective too. For me it"s not a continuation of The Spitfires back catalogue, it"s very much the start of a new chapter. I"m incredibly proud, after all these years, to be talking about a new body of work which excitesme and inspires me more than ever." From the high-octane political pop of "The Great Divide!" to the moody intensity of "I"ll Never" and the reflective, Parisian- tinged "Grateful", MKII is a bold statement: The Spitfires are back-and stronger than ever.

Tallahassee"s Pool Kids are turning up the heat with Easier Said Than Done, their electrifying new album dropping September 26 via Epitaph Records. Kicking things off with the punchy, addictive lead single of the same name, the band showcases a sharpened edge to their signature blend of math rock intricacy and indie-pop charm. Following the critical success of their 2022 self-titled album-hailed by Paste, Stereogum, and Consequence-Pool Kids have been making waves on the road with the likes of Soccer Mommy, PUP, Joyce Manor, and most recently, Beach Bunny. Easier Said Than Done finds the band leveling up in every way, delivering explosive energy, emotional depth, and undeniable hooks that cement their place as one of the most exciting acts in indie rock today.

Tallahassee"s Pool Kids are turning up the heat with Easier Said Than Done, their electrifying new album dropping September 26 via Epitaph Records. Kicking things off with the punchy, addictive lead single of the same name, the band showcases a sharpened edge to their signature blend of math rock intricacy and indie-pop charm. Following the critical success of their 2022 self-titled album-hailed by Paste, Stereogum, and Consequence-Pool Kids have been making waves on the road with the likes of Soccer Mommy, PUP, Joyce Manor, and most recently, Beach Bunny. Easier Said Than Done finds the band leveling up in every way, delivering explosive energy, emotional depth, and undeniable hooks that cement their place as one of the most exciting acts in indie rock today.

NILS FRAHM and F.S.BLUMM have confirmed the release of their fifth collaborative album, Handling. Containing three tracks but 40 minutes long, it finds the duo advancing from 2021’s dub-influenced 2X1=4, deploying its lessons in ambitious new territory that also nods to earlier collections. Recorded at his studio in Berlin’s Funkhaus, the album will be released by LEITER on vinyl and via all digital platforms on September 19, 2025.

Handling’s three exquisitely detailed pieces are each entitled ‘Leuchter,’ German for ‘candlestick,’ encapsulating the LP’s luminescent glow and rising inner energy. Its scrupulous arrangements exploit a magic cabinet of instruments, among them pianos, celestas and cristal baschets, glockenspiels, guitars and multiple forms of percussion. Their painstakingly engineered improvisations were equally meticulously reassembled in a series of intense editing sessions.

That the duo’s collaboration is built on a friendship and mutual admiration dating back to the early 2000s enables an unusual level of trust, despite both operating in their own distinct manner. “It’s not Frank, it’s not Nils,” they reflect. “We’ve become a new persona.” Handling blends Blumm’s organic chaos with Frahm’s structured intuition, offering a distinct and luminous experience that doesn’t just sound different, but feels like its own evolving world.

Sam Prekop"s work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop"s singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010"s Old Punch Card, Prekop"s exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a sytle all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility.

Sam Prekop"s work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop"s singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010"s Old Punch Card, Prekop"s exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a sytle all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility.

Trailblazing outlet for forward-thinking Danish Jazz, April Records proudly presents the debut from trumpeter/composer Rolf Thofte; a vivid and personal record that blends lyrical melodies, inventive rhythms, and subtle harmonic exploration. Written while Thofte adjusted to fatherhood - the album captures moments of joy, reflection, and experimentation, brought to life by a handpicked quintet of Denmark"s most exciting young jazz talents. Martha"s Dance is set for release on September 19th, 2025 via April Records. The title track is a tribute to Thofte"s three-year-old daughter - a playful, clapping, goat-hoof-stomping tune in quirky 5/4 that channels the spirit of childhood joy and spontaneity. "It"s just a fun tune to play, and I feel like it really captures Martha"s spirit," says Thofte. "This band came together at a time when I was trying to get a foothold in a new life situation as a father, so it felt perfect to make this the title track." The album moves between moods and textures with elegance: from the rich harmonic language of "Vice Versa" - inspired by Wayne Shorter"s ability to cast simple melodies in shifting harmonic light - to the understated power of "Changing Tides," a piece about imperceptible gradual changes in our lives, nature, and politics. "Bendico," written in 15 minutes as a conservatory assignment, showcases Thofte"s gift for strong melodic statements, while "Dunkelflaute" evokes melancholic Nordic greyness through sparse, emotive phrasing. From the swaggering second-line feel of "The Big 5" to the hypnotic pulse of "All...", the album explores rhythm as both a driving force and a canvas for creative interplay. Throughout, Thofte"s trumpet and flugelhorn lead the ensemble with warmth and clarity. The quintet features some of Copenhagen"s top next-generation players: Andreas Toftemark (tenor saxophone), a powerhouse improviser and composer who brings NYC-honed energy and detail to the group dynamic. Rasmus Sorensen (piano), a rising star of the European scene, known for his sensitive, exploratory playing and fearless interaction. Jakob Roland (bass) and Henrik Holst (drums) - two of Thofte"s oldest musical collaborators - round out the rhythm section with deep swing, taste, and musical empathy.

Gastr del Sol"s second album returns at last to the vinyl format - its first physical manifestation in well over a decade. Once again, a drop of the needle may ignite any number of queries, summed simply in one: What IS this music? Such is the potent energy of Crookt, Crackt, or Fly, retaining its otherworldly qualities some 32 years and countless musical movements since. Crookt, Crackt, or Fly expands upon The Serpentine Similar"s minimalist stance in unexpected ways, imposing further austerity in the soundscape but for an unpredictable expansive quantity periodically overflowing, waves of blood sluicing through the elevator doors. This is partially due to a change within the group dynamic: the departure of bassist Ken "Bundy" Brown and the arrival of a new partner for guitarist and singer David Grubbs - guitarist and sound fuckerer Jim O"Rourke. O"Rourke"s initial work with Gastr involved editing and recomposing recordings of the Grubbs-Brown-&-sometimes-John-McEntire lineup, producing an utterly outré collage of cut-ups and other types of tape processing. This became the "20 Songs Less" single, after which he was invited to play with the group. It was a time of flux; Brown recalls playing a Gastr show at the Metro around this time featuring himself, John McEntire, Grubbs and O"Rourke - and one of the pieces played was a Tortoise song! Throughout these shifts, Gastr del Sol"s music was never less than fully considered and composed, even in moments redolent with the suggestion of the random and the non-sequitur. Grubbs and O"Rourke made no attempt to replicate Serpentine"s arrangement of thick, scaly drones and hypnotic song-visions in their own partnership, finding Crookt, Crackt,"s sound instead in spiny, gamelan-like interactions between their (mostly acoustic) guitars, played precisely in and out of formation with bright, fleet-fingered abandon. O"Rourke"s fondness for field recordings and his capacity for tape manipulation intersected with Grubbs" sensibilities, edifying his evolving song style: written with increased sharpness and sly surreal humor, sung closer to silence. Halfway into "Work from Smoke", the sudden collapse of the sound-walls around us signals Crookt, Crackt"s major departure. From the thicket of guitars, a swell of drones and free-jazz squeals, made up of bass clarinet, vibraphone and organ, pulls the listener into an entirely other acoustic space. "Every Five Miles" derails in similarly tactile fashion: a guitar duet boils up thunderously, then fragments and spirals apart. As a free electric guitar part crops up, improbably holding the center, the acoustic space around it continues to disintegrate in ambient stereo. A wedding of folk music idioms to classical, improvised and modern compositional modes (including Gastr"s own formative post-punk mode), Crookt, Crackt, or Fly is a song-based reality steadily giving way to its alternative alchemies playing out within.

Saxophonist, flautist and producer Chip Wickham casts a formidable shadow across the worldwide jazz landscape. Originally from Brighton, but now dividing his time between the UK, Spain and the Middle-East, he has made a name for himself with a series of beautifully crafted solo albums that draw equally on the hard swinging spiritual jazz of Roland Kirk, Yusef Lateef and Sahih Shihab, alongside the music of British jazz legends such as Tubby Hayes and Harold McNair and the more contemporary sounds of Jazzanova, Kyoto Jazz Massive and Robert Glasper. His close working relationship with Matthew Halsall’s Gondwana Records has spanned close to two decades (since he played on Halsall’s 2008 debut ‘Sending My Love’) and has since released three standout releases on the label (the ‘Cloud 10’ LP, and the ‘Astral Travelling’ and ‘Love & Life’ EP’s). Once again returning to the heralded label, he now prepares to release his elegant fifth studio album ‘The Eternal Now’. Further exploring his penchant for hard-hitting soulful, spiritual jazz and modal hard-bop, it denotes an exciting new chapter in his much- revered discography, once which sees his unbridled artist flourish into new and fruitful pastures.

A beautifully crafted record, ‘The Eternal Now’ is a heartfelt ode to submitting oneself to the practice of creating art, and the freedom that’s derived from letting go. Speaking on his journey to bringing it into the world, Chip explains “The Eternal Now is a creative place where time has no purpose. A place where the past and the future don’t exist. A place where an artist can create something that is timeless and relevant. Writing this album has been a deliberate journey of exploration and drive into the furthest reaches of creativity. An attempt to push myself artistically into new spaces using new colours and new energy”. On how he approached this record in comparison to his previous offerings, he divulges ‘I had to be playful and take risks. It has taken longer than any other album to make and it has been so worth it. I have been drifting and taking the road less travelled as well as not looking back. I’ve enjoyed being on the outside and the freedom it has brought me to create something new and fresh and relevant and timeless.’

This is where it all starts. Without any reminiscing about their former band Operation Ivy, Matt Freeman (bass) and Tim Armstrong (guitar/vocals) blast through their debut without any hints of ska or blatant Clash plagiarizing. On the contrary, this album rips through 15 tracks of high-energy punk that"s accompanied by heavy bass leads and Armstrong"s permanently slurred vocals. And to top it all off, the lyrical content deals with urban blight and the lifestyle of being a public nuisance. With this trademark sound, Rancid provides the perfect soundtrack for any car chase that includes massive property damage; is it a wonder MTV wouldn"t touch this? -Mike DaRonco

In 1996, Busta Rhymes delivered his debut album, The Coming, three years after the Leaders of the New School unofficially disbanded. Though his talents were evident on those Leaders of the New School releases, Busta went on a series of features that only built up the public's desire for a solo Busta album. Right out of the gate, Busta dropped his classic debut single "Woo Hah!! (Got You All in Check)" that made it abundantly clear he was to be mentioned among Hip Hop's greatest solo artists. The energy and originality packed on that one song set a tone for the album that displays Busta's raw talent and ability to bend words with his ever rambunctious flow. The album features production by Easy Mo Bee, DJ Scratch, Q-Tip, and J Dilla. Songs such as "Everything Remains Raw", "Abandon Ship", and "Still Shining" all rise above as The Coming's stand-out tracks, but "Ill Vibe" is the album's crown jewel moment. Busta sounds right at home over this J Dilla beat, trading verses with his Native Tongue cohort Q-Tip. The Coming was a critical and commercial success for Busta Rhymes. It reached #6 on the Billboard 200 chart in 1996 and has since received a platinum certification from RIAA. As mentioned, The Coming boasts the hit single "Woo Hah!! Got You All in Check " which reached #8 on the Billboard Hot 100 chart in 1996. It was nominated for a 1997 Grammy Award for Best Rap Solo Performance. It also ended up sporting another hit single, It's a Party featuring Zhané. The Coming shows amazing variety where Busta can break free from the bells and the whistles of the Busta Dungeon Dragon flow to explore other ways of leaving our jaws open by his incredible lyricism. The Coming surely lives up to its title, as Busta delivers a performance that ignited his impeccable solo career.

For a decade now, BAD SUNS have thrived in the sweet spot between indie rock polish and modern alt-pop energy, crafting a sound that feels both urgent and timeless. Accelerator, their fifth studio album, doesn"t just refine that identity-it pushes it into new territory. Stratocasters shimmer through overdriven Vox amps, synths surge like late-night city lights, and the rhythm section pulses with a restless, undeniable energy. It"s a record that doesn"t just move; it commands attention. The band"s evolution has been constant. Since their early days cutting their teeth on tours with Halsey and The 1975, Bad Suns have spent the past two years stretching their reach across genre lines, proving their versatility at major festivals and iconic venues. Whether electrifying Red Rocks alongside All Time Low, opening for Angels & Airwaves, or winning over Finneas" pop-leaning crowd on their 2025 U.S. run, they"ve made a case for themselves as a band without borders. Helmed once again by longtime collaborator Eric Palmquist (MUTEMATH, Thrice) at Palmquist Studios, Accelerator feels like the band"s most conceptually realized work to date. Its 12 tracks unfold with cinematic ambition, balancing airtight hooks with an emotional resonance that shifts depending on how you approach them. It"s an album that doesn"t just sit in the background-it begs to be experienced.

Teddy Abrams, the Grammy Award winning conductor, composer, and multi-instrumentalist deemed by the New York Times as a “Maestro of the People,” and named Musical America’s 2022 Conductor of the Year, announces Preludes, an album of solo piano works composed and performed by Abrams and produced by Gabriel Kahane and Casey Foubert, via New Amsterdam Records.

Preludes is a contemplative, personal, and playful set of simple solo piano pieces whose recorded sonic identities were developed in collaboration with Gabriel Kahane and Casey Foubert. Kahane and Foubert “identified the personality of each Prelude and found a sound world for every track to match the intrinsic characteristics of the individual works.” The 16 pieces that make up Preludes take inspiration from the canon of classical piano works such as Bach’s Inventions and Bartok’s Mikrokosmos, yet they are imbued with Abrams’ immaculate compositional language and a depth in production uncommon to “classical” works.

Coming on the tail end of Abram’s Grammy Award Winning Piano Concerto (2023), Abrams explains: “After the crazy, frenetic, joyful energy of my Piano Concerto, I wanted to create a piano work that explored a completely different energy and soundscape. While the Piano Concerto is overtly populist, referencing American genres like jazz, funk, and Gospel music, the Preludes are meant to be introspective, intimate, and simple enough for pianists of many skill levels to play in both performance and home settings.

Wojtek Mazolewski Quintet (WMQ) - one of the most charismatic groups on the European jazz scene - returns with Live Spirit I, a new album recorded at the iconic Witold Lutoslawski Polish Radio Concert Studio in Warsaw. The release features four brand-new compositions alongside electrifying new takes on WMQ classics, including a stunning 20-minute version of "Polka", the title track from their best-selling record.

Thanks to acclaimed live shows and radio appearances in both Norway and Germany, Heigh Chief has been steadily winning over a growing fan base with their high energy performances of songs from their first two albums. One Night Live solidifies their reputation as a formidable live band with incredible chops and songwriting skills. Their talent has earned them notable achievements, including winning the Notodden Blues Cup in 2013 and placing second in the Norwegian finals of the "Battle of the Bands." These successes helped them secure spots at the International Blues Challenge (IBC) in Memphis for two consecutive years, 2015 and 2016. The four-piece band brings serious talent to the stage - featuring none other than Norway"s top Hammond organ virtuoso, Lars Christian Narum. One Night Live is the band"s first live recording, and it doesn"t disappoint. Recorded in Norderstedt, Germany while the band was on tour in 2019, it"s an impressive testament to the band"s talents.

Black Moon Circle return with A Million Leagues Beyond - a powerful new album recorded live at Trondheim"s intimate and legendary Moskus club. Since 2014, the Norwegian trio has built a devoted following with their heavy blend of space rock, psychedelia, and raw jamming energy, earning acclaim for both studio albums and immersive live performances. Moskus is a small bar located in Trondheim that hosts about 70 concerts every year, showcasing genres as diverse as jazz, country, Americana, rock, progressive jazz and occasionally psychedelic hard rock. With a capacity of around 80, the audience faces the stage which barely has room for drums and a couple of amplifiers. Feeding off the intimate atmosphere, Black Moon Circle have done what they do best, conjuring up heavily improvised jams out of thin air.

Gilles Peterson presents International Anthem is a compilation chronicling the legendary London-based radio host, DJ, label head, curator and cultural impresario"s long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC Radio 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. This album is released via International Anthem as part of their "IA11" series of releases and events - where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

EGO IN MIAMI 2025 comes to life by showcasing current music trends through the most hyped EGO
tracks of the moment. Not only: it represents the beginning of the annual series of compilations signed
EGO, as a tradition for ten years. Again this year, at the Miami Winter Music Conference, we have
selected several tracks that will count down with you, accompanying you to the start of one of the most
anticipated EDM events of the year. The MMW brings together thousands of professionals and
enthusiasts who will participate in a series of events in Miami, concluding with the iconic “Ultra Music
Festival”.

The selection presented this year reflects current musical trends. Established names like TR3NACRIA,
Cecilia Krull and Tommy Vee with the talented emerging Defreeze, Bohemoon and just a boy, the great
returns of Sapienza, Solarys and Bacon Popper. The energy of Berin, the good vibes of Roberto Tropea
and the euphoric productions of Ema Feud and B-Rain. The ensemble takes place through the extended
version braid that creates a collection usable by both EDM fans and professionals: DJs and producers.

A true embodiment of Brazilian Boogie, this is the first official reissue of Brylho's album, founded in Rio de Janeiro in 1978 as Brylho da Cidade. The group was influenced by the Black Rio movement of Tim Maia, Cassiano, and others. Members included Arnaldo Brandão (vocals/bass), Paulo Roquette (guitar), Cláudio Zoli (guitar/vocals), Robério Rafael (drums), Bolão (percussion), and Ricardo Cristaldi (keyboard). Claudio Zoli stands out as an important funk artist of the 1980s, during a time when Pop Rock bands dominated the Brazilian music scene. This album features one of the biggest hits of 1983: the soulful reggae groove "Noite do Prazer." Often described as Rio de Janeiro's answer to George Benson's "Give Me the Night," it's a timeless classic that bridges funk, soul, and Brazilian grooves. On "Se Você For a Salvador," a sun-soaked, feel-good boogie track, younger generations have embraced a new term to describe the sound: Brazilian City Pop. The record also delivers dancefloor heat like the stomping "Jóia Rara," the vibrant soul-reggae fusion "Destrava Maria," the ahead-of-its- time rap-funk hybrid "Cheque Sem Fundo," and the electrifying samba-reggae "Pé de Guerra," rich with Bahian rhythms and energy. Closing out the album are two under-the-radar jazz-funk gems: "Meditando" and "171." Though often lumped into the boogie category, these tracks lean more toward the sleek 1980s jazz-funk sound, reminiscent of UK acts like Level 42.

Temple Fang is a rare breed of band - one that refuses to compromise in an increasingly cutthroat and number-obsessed music industry. Formed in 2018 in Amsterdam, the band hit their stride in 2019 with acclaimed Roadburn performances and a reputation for electrifying live shows across Europe, all before releasing a single track. With alternating lead vocalists, dual harmonizing guitars, and a rhythm section powered by pure psychedelic energy, Temple Fang quickly became a phenomenon in the heavy-psych underground. Though always leaving live viewers in awe of their performances, the band struggled against internal fractures and external forces, all stalling efforts to create their vision of a proper studio album. This fueled speculation that Temple Fang"s live sound was too in-the moment, too whimsical, too untamed to be properly captured in a studio environment, something the band never themselves believed to be true, quite the opposite. It just would require the right set of circumstances. Fast forward to 2025 as Temple Fang is ready to release "Lifted from the Wind" on Stickman Records. A record they themselves consider to be their true debut studio album. On this sprawling double record Temple Fang appears, for the first time in their existence, fully formed: fierce and strong, hard rocking yet elegant, with 20+ minute psych freak-outs and prog ballads side-by-side. Temple Fang truly delivers on the promise they"ve always held, to really stretch the possibilities of what it means to be a rock band in 2025. With spectacular wild-man Daan Wopereis as a full member on the drums, Temple Fang now can deliver on their commitment to really rock, to blow your mind AND tear your heart out.

For their third album on Bongo Joe, Madalitso Band takes a new direction. After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio - without ever compromising their signature style or energy. Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that"s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles. Always guided by instinct, the band reveals a more intimate and narrative side of their universe - full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

Les Disques Bongo Joe proudly announces the release of Lateena and Bony Fly"s debut collaborative album, a 10-track journey through the pulsating rhythms of dancehall, bouyon, shatta, and reggaeton. Lateena, a queer trans artist hailing from Jamaica, channels her bold identity and raw energy into music that is both deeply personal and universally empowering. Paired with Bony Fly"s innovative production - steeped in his Guatemalan roots and honed by a career spanning global collaborations - this album offers a fresh and exhilarating take on modern dancefloor sounds.