Cerca:fr sound

"Metalhorse" ist das dritte Studioalbum von Billy Nomates, nach dem von der Kritik hochgelobten "Cacti" von 2023 und ihrem selbstbetitelten Debüt von 2020. Ein Konzeptalbum, das sich um das Bild eines verfallenen Jahrmarkts dreht und für die Turbulenzen des Lebens steht - Risiko und Vergnügen, Gefahr und Rausch. Die 11 neuen Songs erkunden Blues, Folk und pianobetonte Arrangements, die Billy Nomates' starken Punk-Sound in eine pastoralere Richtung lenken. "Metalhorse" ist das erste Billy Nomates-Album, das in einem Studio und mit kompletter Band aufgenommen wurde. Zur Besetzung gehören die Bassistin Mandy Clarke (KT Tunstall, The Go! Team) und der Schlagzeuger Liam Chapman (Rozi Plain, BMX Bandits), dazu gab es einen speziellen Gastbeitrag von The Stranglers-Frontmann Hugh Cornwell zu dem Song "Dark Horse Friend". "Metalhorse" ist eine Balance der Extreme. Verlust, materielle Unsicherheit und der Versuch, sich selbst treu zu bleiben, vor dem Hintergrund eines zunehmend unvorhersehbaren globalen Chaos - die Waage hätte leicht in Richtung Dunkelheit kippen können, aber je mehr Tor Maries durchmachen musste, desto wertvoller wurden die kleinen Momente des Glücks. "Metalhorse" fordert den Hörer auf, seinen eigenen Rummelplatz zu finden; es wird immer Dinge geben, die sich gefährlich anfühlen. Gleichzeitig muss man die Lichter bestaunen, solange sie noch brennen. "Metalhorse" tanzt mit diesen Gefühlen von Ungewissheit und Freude und ist von Schmerz und Ausdauer durchdrungen.

First studio album in 11 years for Normandy-based, English psychedelic folk
musician/painter, Mark Fry
When 19-year-old Mark Fry recorded his debut album 'Dreaming With Alice' for RCA
sublabel, "It" in Italy in 1971, little did he know that it would become a much-soughtafter, much -bootlegged "acid folk" classic three decades later, with millions of Spotify
plays. Fry, an acclaimed painter in the interim, returned to making music in 2008 and
has released three more acclaimed studio albums - this, 'Not On The Radar,' is the
fourth. These days, far less "acid" than in his youth, Fry still knows his way around a
beautiful melody. The new album, recorded with musician friends at his Normandy
home studio and produced by David Sheppard (Ellis Island Sound/ State River
Widening) is resplendent with love songs, the beauty of nature and the passing of
time.
Full press, radio, online PR campaign both in the UK and in the EU, handled by Big
Mouth Publicity. Mark plays a very rare London show, as an album launch, with full
band, on the day of release, at Stone Nest, Shaftsbury Avenue, London. He will also
perform at A Celebration Of The Incredible String Band, Southbank Centre, London on
20th Sept (alongside Sam Amidon, Junior Brother, Daisy Rickman and more.
Reviews in Mojo and Uncut (with interview) confirmed for month of release. News/
features online : Click Roll Boo, KLOF, Maximum Volume Music, Pipilo Pop, The Pop
Corporation, White Light/White Heat (Italy). Playlisted : Rockambula, Foxy Lady

"Music collectors have the chance to rediscover a lost gem from the golden age of psychedelic rock. This Half-Speed Mastered Edition offers the ultimate listening experience of the Texan band"s legendary 1967 debut-and only-album. Originally pressed by the International Artists label, Power Plant has gained mythic status among fans of the genre, often fetching up to $2,000 for an original pressing. But this exclusive reissue surpasses even the most sought-after versions, delivering a superlative experience that uncovers astonishing stereo details never before heard. Recorded at the height of the Texas psych-rock explosion, Power Plant stands as the only album on the International Artists label to rival the cult-like fascination surrounding the 13th Floor Elevators. Fronted by George Kinney, The Golden Dawn crafted a sound both haunting and transcendental, blending poetic lyrics, distorted guitars, and dreamlike vocals. Fans old and new will be transported back to the heart of the 1967 psych revolution, reliving this masterpiece as it was meant to be heard.

Unreleased extras from the critically-acclaimed 'Memorial Waterslides' album sessions. "These songs are outsiders: when working on the overall listen of the Waterslides album we found they didn't fit in with the journey we'd envisioned through it, but put together on a single like this they work like magnets - polar opposites joined." MEMORIALS - Verity Susman (Electrelane) and Matthew Simms (Wire). A simmering cascade of sound, pressed on neon orange vinyl. Two exclusive tracks that extend their esoteric musical palette, a journey through psychedelic rock, far-out folk and wild analogue electronics. "A work of inspired joy." The Wire" - 500 copies pressed on neon orange for ww RSD 2025

'Test Driving The New Prius' is a 35 minute radio play (with sound effects) written and performed by Jim Fry (Earl Brutus, Pre New) and Luke Haines. (The Auteurs, Baader Meinhof a.o.). Just as that other modernist masterpiece Ulysses depicted a day in the life of Leopold Bloom, Test Driving The New Prius follows the life in a daze of Endgame Man. In this tale of derring-do our hero acts out a perilous adventure in the 400 yards between his home, his local pub and the off-licence. With nervous system reduced to a series of involuntary twitches and reality reduced to a background hum of decades of half absorbed mindless daytime TV wittering. Can Endgame Man get home and make it through to Wednesday with only his spirit familiars - an endless trail of 75cl bottles of Glen's vodka to guide him? With cameos from Jayne MacDonald, Brian Eno, Martin Degville /sigue Sigue Sputnik) and the cast of Blankety Blank (1980). Written and executed by Jim Fry and Luke Haines Originally Broadcast as a Radio Play in 2022, now a limited-edition 12-inch vinyl LP on berry red vinyl,exclusively released for RSD 2025

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up

One more year and a new edition of our ANAØH INVITES vinyl series.

As is tradition, in this third volume, Dig-It and Fixon, hosts of the label, invite two artists to join them and release four original tracks on a special edition 12′ vinyl.

For this new edition, we have two artists whom we truly love and respect.

On one hand, until a few months ago, the mysterious BLK_BETTY an artist with few appearances but undoubtedly a powerful and forward-thinking producer, a true representative of that jacking and energetic sound.

On the other hand, we are honored to welcome the legendary The Advent, a living icon of pure Techno, who has delivered a track that gives us goosebumps and brings back the essence of his early 2000s sound, the most aggressive and powerful The Advent.

We are honored to celebrate 9 years of work with this 12′ vinyl edition alongside artists we deeply admire, and we hope you love it as much as we do.

From México with Love. Fixon & Dig-It

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Un año más y una nueva edición de nuestra serie en vinilo ANAØH INVITES.

Como es tradición, en este tercer volumen, Dig-It y Fixon, anfitriones del sello, invitan a dos artistas a unirse a ellos para presentar cuatro tracks originales en un vinilo especial de 12″.

Para esta edición contamos con dos artistas a quienes realmente queremos y respetamos. Por un lado, hasta hace unos meses, el misterioso BLK_BETTY, un artista de pocas apariciones pero sin duda un productor potente y visionario, un verdadero representante de ese sonido jacking lleno de energía.

Por el otro, nos honra dar la bienvenida a la leyenda The Advent, un ícono vivo del Techno en su forma más pura, quien nos entrega un track que pone la piel de gallina y revive la esencia de su sonido de inicios de los 2000s: el Advent más agresivo y poderoso.

Nos llena de orgullo celebrar 9 años de trabajo con esta edición en vinilo, acompañados de artistas a quienes admiramos profundamente. Esperamos que lo disfruten tanto como nosotros.

From México with Love. Fixon & Dig-It

"After a first appearance on the "Various 1" EP, Oshana now makes her full release debut on Altered Circuits. The "Origins EP" is, in the artist's words, a collection of old-meets-new four-to-the-floor club flavours. Originating from her live set practice, it's a proper representation of where she's currently at: making a push for the bigger and bolder. Her obvious talent for meticulously stacking textures doesn't stop her from shifting to the stripped-back and straightforward when needed. The constant throughout is a sensibility for the dancefloor, which never lets anything get in the way of groove and rhythm. "Above We Soar" drops right into the action with a menacing bassline and equally gloomy synthesizer layering. The cut's gothic-black palette works a charm merging palpable tension with restraint. It builds for 4 minutes towards a drop - and then a slamming acid line succeeds in cranking the energy even up another notch. "Space And Time Dimensions" is a loopy roller which, by the sound of its reverb levels and ambient noises, might have been recorded at a missile silo. The stretched vocal samples and ever-evolving drums propel it forward in a vintage, Chicago house type way. There's a moment of calm when those briefly fall away; one of its quirky basslines subsequently makes room for a slick little polyrhythm sine, and everything clicks even more. On the other side, "Girls In The Front" doesn't loosen the reins either, as hefty kicks and another sturdy bassline immediately set the tone. The air appears charged with static electricity, and Oshana's way of niftily adding and subtracting seamlessly draws the listener into a groovy trip. 5 minutes fly by, and then the lead still has to emerge. The one that eventually comes in is huge and hypnotic. Topped off with a selection of vocals that burst with impatience, the track hints at the anthemic. Closer "Origins" taps into a more progressive and trance side with its modulated formant bassline, jittery arpeggiator lead and heavily flanged flourishes. A gust of electronic flutes and sleek chords take a turn for the - almost - idyllic. Not for long: not uncharacteristically, it switches back to the main beat and back into more ambiguous yet familiar territory."

Kalita is excited to present the third volume in their groundbreaking ‘Borga Revolution!’ compilation series, exploring the revolutionary phenomenon of ‘Burger Highlife.’ This unique style fused West African melodies with synthesizers, disco, and boogie, a sound that took Ghanaian airwaves by storm in the 1980s and beyond. With previous volumes receiving strong support by tastemakers such as Gilles Peterson, Antal, Tom Ravenscroft, and Hunee, Volume 3 takes a deeper dive than ever before into the world of Ghanaian digital dance music. This volume features rare, sought-after tracks from artists including Obibini Takyi, Osei Banahene, and Okyerema Asante, as well as Burger Highlife trailblazers George Darko and Lee Dodou. Borga Revolution! Volume 3 offers a curated mix of standout anthems and rediscovered gems, many of which are otherwise nearly impossible to find, making this collection a must-have for fans and collectors alike.

The 1970s and 80s saw Ghanaian musicians begin to incorporate Western sounds like funk and disco into their music, reflecting the changing global musical landscape. However, the country's political instability and economic hardships, marked by military regimes and curfews, forced many artists to leave Ghana in search of better opportunities abroad. In Europe and the U.S., these musicians fused their traditional highlife roots with emerging digital sounds, using cutting-edge technology like the DX7 synthesizer and drum machines to create the genre now known as Burger Highlife. With ‘Borga Revolution!’ Kalita offers a vivid exposition of this musical transformation, using rare interviews, archival photos, and detailed liner notes to bring to life the pioneering spirit of both well-known icons and unsung innovators of Burger Highlife, one of West Africa’s most exciting musical movements.

It's 2022. The world lockdown is finally over. Imagine a picturesque lake in Tuscany. Now imagine a floating state of the art studio on that lake with two maverick rock icons creating a wild, alchemical concept album: Hugo Race, frontman of Australian post-punk legends The Wreckery and guitarist for the Bad Seeds and leader of True Spirit and Fatalists, and Gianni 'Marok' Maroccolo, producer of Italian alternative music and film soundtracks since the 1980s Florence darkwave scene with Litfiba, CSI & CCCP. Together, they fuse an existential narrative made up of individual stories in the style of Boccaccio's Decameron with psychedelic soundscapes framed by experimental electronica, rock instrumentation and decades of experience as cutting edge musicians and studio producers to bring you an album that defies categorization - The Vigil… "We all knew the situation was inauspicious, the planets lined up overhead like a firing squad and this empty silence roaming around our town, cut off from the other mountain towns by an electrical blackout. Without power, there was no way of knowing what was happening anywhere else. Left alone with our thoughts until help came from outside, a group of us gathered around a blazing fire in the abandoned city hall, feeding it with documents and broken furniture. Scientific progress had long told us we were parcels of dumb atoms and that consciousness and the soul were merely human projections. Now science had failed itself..."

Harry Potter and the Goblet of Fire soundtrack, composed by Patrick Doyle, introduces a darker tone to the franchise. Key tracks like "Hedwig's Theme" and "The Quidditch World Cup" capture the excitement of the Triwizard Tournament. Nominated for a Grammy, the score blends new themes with familiar motifs, enhancing the film's emotional depth

The Deepshakerz return to Crosstown Rebelswith a new three-track EP, ‘Give It 2 U’. The Italian duo deliver a trio of original productions as they make their second appearance on the label. Italian pairing The Deepshakerz make their long-awaited return to Damian Lazarus’ iconic Crosstown Rebels imprint with their latest EP ‘Give It 2 U’, set to open May in style. The three-track offering signals an exciting return to the label for the Bari-born artists, who have become known for their percussive, groove-led sound across acclaimed releases on Moon Harbour, Knee Deep In Sound, and Glasgow Underground - following on from their label debut ‘Fire’ with Aaron Pfeiffer on the label in 2023. Their ‘Give It 2 U’ EP features three tracks that exemplify the pair’s ever-evolving sound, taking in influences from afrohouse to early Chicago house. The title track ‘Give It 2 U’ kicks things offwith infectious percussion and a driving groove, setting the tone for the entire release. On the flip side, ‘The Beginning Groove’ explores deeper, hypnotic territories with further rolling rhythms and hooky stabs, while ‘Green Light’ featuring Dennis Wonder switches up proceedings, bringing a no-nonsense dancefloor groove with a blend of punchy, skippy drums, uplifting melodies and smooth vocals.

"JUJU" drops on May 17th (WERF Records) and is programmed at Gent Jazz Festival (July 11th)



Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert.Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before.



Everything is connected. Not just in the grand scheme of things - politically, culturally, socially,... - but also in the colourful universe of Karen Willems. A lifelong quest for profound experiences through organizing sound led to the crucial Terre Sol-series, four tapes released in 2020. Out of that fertile well, Grichte (2022) was born. A double LP that presented Willems as an original explorer as well as a committed bandleader, it was her boldest statement to date.

While the first (solo) album halfalready received a follow-up in K A A P M I J (2023), another tape release that suggested there's still a lot of ground left to uncover, Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert. It was already something to behold on Grichte, swerving from introspective exploration to expressionist riff rock and semi-Dadaist avant-garde.

On Juju, the four-piece digs even deeper and the results are utterly spellbinding. One of the many attractions of Willems' recent work is that it combines relentless artistic experimentation with a commitment to broader socio-political issues. In essence, the artist tries to set up a discussion with her surroundings, sending out musical invitations to connect and participate, reminding ourselves of responsibilities that are too easily forgotten in these hectic, self-centered times. The refugee crisis is one, ecology awareness another, and it's hard not to consider "Voor De Stranden Verdrinken" ("Before The Beaches Drown") a caustic warning. Things need to change.

As said earlier, the music on Juju remains as adventurous as before, but this time around, the playing feels even more confident, diverse and punchy. If the album opener accentuates its urgency with a throbbing pulse and reed sirens, "Tako Deli" continues with rich vocal arrangements, roaring saxes and sweeping melodies. What follows strikes with vigor and consistency: "Nuuki" is as dense as it is infectious, while "Fuzzy Williams" manages to combine Ellingtonian abundance with Swans-like preaching.

And there's more, much more. Eccentricity and playfulness ("The Woo Woo Room, Dance Back In Style", "In Open Veld") go hand in hand with smoldering exercises in tension and release ("Koortsdromen") and a ridiculously infectious call for connection in antisocial times ("Come Vai"). Guest contributions by Nabou Claerhout, Kapinga Gysel, Esther Lybeert and Filip Wauters enrich the band's sound considerably. By the time you reach album closer "When Daytime Lands", Willems takes you on a short trip through that eerie soundscape-land she previously explored.

In short: Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before. It's the sound of an artist at the peak of her powers, not just expanding her range, but digging deeper with obvious glee. It's not just intriguing; it's inspiring to witness..

This is a four-track sampler taken from parts one and two of the One Hundred and Fifty Steps VEP series which is all about exploring the rise of 150 bpm dubstep, a sound that is characterised by fast basslines, broken rhythms and heavy halftime pulses. From VEP pt. 1, L.A.'s Carre delivers pacey wobblers and then Berlin's Formella debuts with playful breaks and more wobbly bass on 'Dripstep'. VEP pt. 2 features Leipzig's Old Man Crane with their intricate, syncopated style shinning through on 'Grey' and Valencia's Andrae Durden then shows class with a Kryptic Minds-inspired low-end powerhouse.

Unsettled Scores Records is proud to announce the soundtrack to The New York Graffiti Experience 1976 by Fenton Lawless.

The New York Graffiti Experience 1976 is a short documentary directed by Fenton Lawless, one of the earliest on film to capture the New York Graffiti scene. The documentary started life in 1974/1975 as a slideshow by Fenton Lawless andJustine DiIanni, the film's producer,including original photographs and backed by the song French Fry 97, which was later used for the full documentary as well as other music previously recorded in 1974 by Fenton and his band.


All the music has been previously unreleased until now so Unsettled Scores Records are beyond happy to be releasing The New York Graffiti Experience 1976 on 7" vinyl and digital download.

Find Your Own Records recently launched with a sold out first release; Ceri's 'Life Holstee E.P.' which included a timeless Fred P Reshape. Fusing the sounds of Berlin, Detroit, Chicago and London, the release was supported by everyone from Midland, Move D, Ben UFO and Fumiya Tanaka, to Steve O'Sullivan.

The second release, the 'I Need You To Make Me Sweat' E.P. also draws inspiration from the classic sounds of Chicago and Detroit, and features none other than a remix from bona fide Dance Music Legend, Mr. G.

The title track 'Need You' is a Juno bassline driven, classic sounding 'proper' deep house track, raising in energy as it peaks, with vocal snippets and modulated analogue drums building throughout.

Mr. G has taken Ceri's title track, 'Need You', and twisted it into a harder, faster 'Jaded Dub', capturing a dark and driving energy, tantalising and adding to the drum grooves with his trademark swinging rides and industrial synths, adding his infamous MPC swing to the vocal snippets, and building the tension throughout, as the one and only G can.

The B side 'Sweat', draws inspiration from 80's and 90's house with a modern dark twist, mixing variating funky drum machine rhythms, classic house vocal samples and pulsing sub-bass to.

The first release was quickly repressed, but there will be no repress on 002, so grab it now before it sells out...

Early support comes from K-HAND, Ryan Elliot, Paranoid London and many more.

This tasteful Spanish label always does a fine line in traditionally inclined deep house. Their latest drop brings together the talents of Andrew Lozano and Trevor Vichas. 'Don't U Feel It' kicks off with a playful skip in the drums and one of those spoken word vocals that add plenty of atmosphere. It's Demuir who remixes this one with even more light-hearted groove and jazzy Rhodes chords. Lozano and Vichas then offer 'With You' which keeps the dubby, smoky, frayed-edge house sounds rolling and 'Feel The Heat then brings a more upright groove with driving hits and swirling pads that speak to the soul.

Rising musical visionary Reuben Vaun Smith's latest album, Land of Music, is a vibrant and atmospheric collection of tracks that transport listeners to a tropical soundscape of chilled beats, lush synths, and laid-back vocal musings. Remarkably, Smith recorded the entire album aboard a fishing trawler docked in a marina in Gibraltar, transforming the tight space into a creative sanctuary.

Blending dreamy synthesizer pads, groovy beats, and smooth vocals, Land of Music evokes a relaxing, high-vibe journey from start to finish. Collaborations on the album enhance its eclectic sound, with standout performances from vocalist Lucy Saddler, who lends her ethereal voice to “Lost in Space” and the title track “Land of Music.” Additionally, labelmate and guitar virtuoso Chico Mann brings his signature funky guitar licks, infusing the album with fresh energy and dynamic flair.

Smith’s Land of Music offers listeners an imaginative escape from the everyday, a vibrant sonic retreat that balances experimentalism with a deep sense of relaxation. Visually, it's paired perfectly with the striking album art courtesy of Brazil-based artists Uinverso, comprised of sisters Nadiuska and Priscila Furtado. Whether you’re tuning in on a quiet evening or drifting through a sun-soaked day, this album promises to be the perfect soundtrack for living the good life.