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"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL. ROCK YOU IN HELL is the third studio album released in 1987. It was originally released under the RCA label.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

Marionette presents 'dessus oben alto up', the first collaborative recording by Andrea Belfi and Jules Reidy. Hailing from different ends of the globe (Australia and Italy) but both longtime residents of Berlin, Reidy and Belfi’s approaches have much in common, bringing together compositional precision and electroacoustic rigour with improvisation freedom, the immediate gratifications of rhythmic pulse, and an overtly lyrical sensibility. Working together during a residency at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory, the pair (with Marco Anulli manning the desk) have conjured up four expansive pieces where the beautifully recorded percussive clarity of Belfi’s drums threads through a sparkling haze of guitars and electronics.

Opener ‘dessus’ begins with Reidy’s distinctive just-intoned guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitar is twisted out of cliché by the unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. ‘oben’ is built from kinetic patterns of picked guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. ‘alto’ begins in similar territory but turned up a notch, eventually settling into a propulsive 6/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.

The B side is dedicated to the fifteen-minute ‘up’, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.

Laolu, the acclaimed Swiss-Nigerian producer and DJ, is set to release his highly anticipated EP titled Try, marking a pivotal moment as the first release under his newly launched record label, Siembra. Known for his transformative remixes and immersive club tracks, Try captures Laolu's signature blend of evocative beats and precise production. Leading the EP is the single ‘You Don’t See Me’, a collaboration with South African vocalist Nomvula, whose tender voice intertwines seamlessly with Laolu’s production. The track embodies the emotive, atmospheric qualities that have earned Laolu a loyal following worldwide while reflecting his desire to collaborate with one of the great voices of the vibrant South African music scene. The title track ‘Try’ features the distinct vocals of SeeMeNot, a standout artist from Defected Records additionally, the EP includes ‘Creature of the Night’, a track powered by one of house music’s most iconic voices, Starving Yet Full.

"Try EP marks an important milestone as the first release on my new label, Siembra. This record represents the latest evolution of my sound, a fusion that draws from both my European roots and West African heritage, seamlessly blending electronic and live music. It’s a sound crafted with both instinct and precision, embodying my deep love for dance music and a newfound passion for songwriting," Laolu explains. With these powerful collaborations and Siembra's commitment to artistic freedom, Laolu continues to elevate his creative journey. The EP sets the tone for Siembra’s future releases, offering fans a fresh, innovative blend of cultural influences in club music that moves both the heart and the dancefloor.

DJ Marky, Makoto & Nookie reboot Adam F’s revisited rework of 1997 hit, ‘Music In My Mind’

Adam F enlists jungle royalty to modernise his 1997 track, ‘Music In My Mind’, from his anticipated forthcoming rework album, ‘Colours Revisited’

Legendary drum ‘n’ bass producer Adam F announces the ‘Music In My Mind Revisited Reboots’ EP, out digitally on 20th September via 181 Recordings, featuring reworks of his acclaimed 1997 track by DJ Marky & Makoto and Nookie.

Further launching this underground dance classic into new dimensions is Brazil’s DJ Marky and expertly selected Japanese producer Makoto. Together, they effortlessly bring the jazz-infused track to the attention of today’s ravers with re-jigged, amplified drums. Certified 90s jungle veteran Nookie goes more liquid with his version, heightening the vibes and setting the scene with immense violin strings.

‘Music In My Mind’ was originally featured on Adam F’s 1997 album, ‘Colours’. Now, as part of the Liverpool-born producer’s much-anticipated ‘Colours Revisited’ album, out in 2025, the jazzy, vocoder-loaded track inspired by Bob James, Lalo Schifrin and Chick Corea, has been given a modern reshape. 

“‘Music In My Mind’ speaks to the power of music to transport, heal, and uplift our spirits,” says Adam F. “This song resonates with those who find solace and freedom in the melodies and rhythms that exist in their own minds and bring back memories of a time when I felt an overwhelming connection to music.”

“This song holds a special place in my heart, and I believe it carries a deeper meaning that resonates with anyone who can relate to finding consolation and liberation in the power of music.”

There’s no better time to keep an eye on Adam F, as he uncovers yet more gold from his elegant and timeless back catalogue. Adam F is as fertile and contemporary as ever with more new production ready to launch unto the legions of listeners hungry for great music as his creativity flows brighter than ever.

Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.

The first LP, Vertigo, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
Whereas the second LP, Water Music, is the music of lapping waves, becalmed, creaking hulls, circling birds and gentle winds. - Equal parts Laraaji and Natural Information Society
Bob Fischer (Electronic Sound Magazine) on ‘Water Music’
"A summer's afternoon daydream of an album. Beautifully soothing psychedelic jazz overflowing with raga delights...immerse yourself in its charms"

John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Aylor, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra. From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

Santa Maria Electronics is a new label born in Italy. In the first EP, Giulio Gastaldello, the mind behind the project, tried to best express the key concepts of the label: eclecBcism, alchemy and freedom. These elements are not only present in the musical production, but can be also found in the party series by Santa Maria. The desire to merge various genres of electronic music to achieve a new sonic experience is a formula that has been happily welcomed.
We firmly believe that an artist's vision should always be as broad as possible, and this is why in our future releases, as in this one, we will consistently try to push ourself into having an open mind in order to achieve the best outcome for the listeners, besides the genre.
In more depth, side A of this Ep is opened by a DnB pitched down beat combined with an ethereal techno pad. A2 is instead a fusion of house and trancy elements.
Side B1 track, ‘Collapse’, consists of 2 basslines, synth lines, pads and stabs that come and go for the whole length of the track. B2, by contrast, is a more clubber tune with acid elements, groovy kick-sub combination and a catchy vocal.

Renowned producer Sweatson Klank and the critically acclaimed Kondi Band join forces on a compelling new single, "Money Face". This deep mid-tempo afro house track features the legendary Sorie Kondi from Kondi Band, delivering a poignant narrative about how the Sierra Leonean government used the image of his face on their newly printed currency without his consent, leaving him uncompensated and left to face the daily struggles of life in Freetown. It's a modern protest anthem rooted in Afro Beat and World Music influences driven by the pulse of a dance floor friendly Disco track.

Sometimes, in order to readjust yourself, you need to free yourself from what you know best and detox from your constantly connected life. In the case of Philipp Lorenz, it specifically came down to embracing the countless possibilities that buzz around the edges of today’s dance floors, sealing himself off from any new music, and leaving his familiar setting in Berlin in favor of making new experiences in Italy’s capital.

Lorenz is best known as one half of producer duo Feeling Valencia and the founding member of acclaimed club
outfit Gheist. Under the newfound Bi Disc moniker, he now reveals a musical spectrum that aims at nothing less
than offering the most authentic version of himself.

“Pieces, Falling“ marries the analog with the electronic, and hints at the numerous musical influences of the
renowned composer. Mixed by famed German producer Olaf Opal, the result is a beautiful, deeply personal, and triumphant album filled with cluttered collages made from strings, manic drumming, field recordings, vocals, and layered melodies. Where other producers try to effectively build their songs to something anthemic, Bi Discs debut delivers one elaborate, victorious climax instead, where nothing feels forced but deeply felt.

Lily Seabird is a perceptive songwriter who can channel moments when everything feels raw and overwhelming into something healing and galvanizing. With Alas, the Burlington, VT-based artist's sophomore album, she confronts grief with palpable clarity on tracks that careen from delicate folk to blistering indie rock. While it's her second LP, it serves as a proper introduction to an undeniable and idiosyncratic voice. "Alas, sounds way more like me," she says. "This is the album I wanted to make in the first place." Though Seabird is now known as a solo artist and collaborator in Burlington's vibrant music community as the bassist for Greg Freeman and other acts, her journey started in Pennsylvania when she picked up the saxophone as a kid. At 14, she learned guitar and started performing as Lily Seabird. After a brief stint in New York City playing in bands, she moved to Vermont, which has been her home since 2018. "When I came to Vermont, I was playing solo a lot but then I started a band with Greg Freeman," she says. "Since 2018, it's been me and Greg and a bunch of different casts of characters have been in the band since then it's an ever-evolving thing. It's just us playing my songs."The songs on Alas, came from a particularly unmoored period for Seabird. "I wrote this album in 2021 and 2022 on the road, trying to figure out who I am," she says. "A lot of them also deal with the time when my close friend passed away. The title Alas, meant a lot to her." Even if the songs don't always directly tackle this specific loss, there's a sense of mourning in how relationships change and dissolve. Take "Grace," a reflection on female friendship, which features the lines, "I hope she's happy now she should be 25 / She taught me something that I thought I'd always hide." Elsewhere, the knotty and unpredictable "Dirge" finds her singing, "I don't know if I believe in god / I don't know if I know how to go on." Seabird and Benny Yurco produced Alas, which was recorded at Burlington's Little Jamaica Studios with Freeman and drummer Zack James (Benny Yurco). It's a quietly expansive album full of subdued, organic textures and moods. Songs like "Cavity" are lush and inviting with silky guitar and Seabird's expressive saxophone playing. The 10 songs on Alas, stretch out and leave space for introspection and deep listening with some tracks taking nearly seven minutes to mesmerizingly unfold. It's a remarkably assured and vital statement from one of the most promising new songwriters alongside peers Merce Lemon, Squirrel Flower, and Allegra Krieger."The album is about loss, coming of age, and sadness but there are also all these moments where happiness takes over," says Seabird. "It can be two things at once: life isn't just pain and sadness, there's also joy. They can all exist at the same time. Alas, is an expression of grief but it's also for letting go."

Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recording artists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esque sound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over- dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of textures. Rendered in the stark beauty of Andersen"s bass lines, the nuanced strokes of Sommer"s drums, and capped with the lush, expansive timbres of Luft"s guitar, "As Time Passes" is a testament to the enduring and ever ever-evolving wonder of Jazz.