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Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all."

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all."

Perpetual Doom is proud to present a special double-LP from Mountain Brews. Spearheaded by Jake Longstreth, Los Angeles-based painter and co-host of Apple Music’s Time Crisis with Ezra Koenig, Mountain Brews was founded around a vital American tradition: sippin’ cold ones to the “tasteful palette of seventies rock.” Full of warm melodies and guitars that evoke a Mojave glow, Mountain Brews occupy the sunny spot right between the studio-slick hits of early Eagles and the laidback jams of the Grateful Dead. And now that their four previous EPS are available in a single package, there’s nothing left to do but grab a seat, turn up the music, and crack one open.

Mountain Brews are pros at keeping things loose and light. Recorded by the same group of old pals that make up a LA based Grateful Dead cover band, Richard Pictures—including Longstreth, Aaron Olson, Ryan Adlaf, and John Nixon—these seventeen tracks celebrate the early seventies’ spirit of easy-going collaboration. You can hear it when a guitar slide greets the opening strum on the title track, an assuming ode to the pleasures of drinking and hiking: “As we get to the top of the mountain, there’s a view,” Longstreth sings. “Take a load off and crack a few mountain brews.” And while the song boasts virtuoso playing worthy of Desperado, the vibe is less barstool machismo than six-pack camaraderie.

It’s a self-aware R&R mindset that pulses through tracks like “You Eagled,” which ponders both a great golf score and the trials of becoming “classic,” and “It’s My Masterpiece,” with its tightly coiled licks and breezy nonchalance with regards to inevitable civilizational demise. Sure, the Brews know there’s a down for every up. “Raised in a Place” and “Big Bummer Hotel” acknowledge that even the chillest California cowboys get the middle-aged blues, resurrecting the heartland synthesizers of late eighties Don Henley and Bruce Hornsby to find a little meaning in the madness. And Ezra Koenig and Danielle Haim contribute vocals to help “The Worst Margarita of My Life” go down just a little easier.

These four EPs were recorded between 2019 and 2021 in various bedrooms and studios across California. “Uphill From Here” brings it all back around as guitarist Aaron “Bobby” Olson sings about meeting Jake on the trail once again: “And it’s all uphill from here,” he sings. “We may have to stop and down these beers.” But whether it’s uphill or down, Mountain Brews makes it clear—the journey is better with company.

Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Strange Bounty / About Life’ for his own Halocline Trance imprint.

‘Strange Bounty / About Life’ is Psutka’s debut album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

The new album represents a refinement of aesthetic and compositional ideas that exist across Psutka’s various projects and collaborations. It is a bold blend of new psychedelia braided with ecstatic groove. It’s a collage of physical sound, composition and freeform electronics that is simultaneously original, bold, and balmy whilst retaining a certain timeless familiarity and the obvious, indelible hallmarks of Psutka’s creative vision.

“‘Strange Bounty / About Life’ is in some ways my most refined record. The previous period of solo material was quite experimental and spontaneous, whereas this was written slowly and with more intentionality, and as a result, feels very clarified. Robin Dann of Bernice, and Alanna Stuart of Bonjay both contributed lovely vocal work to the record and it was written and performed primarily on guitar. I think it is fair to call this an 'experimental guitar record'.” David Psutka (ACT!)

On opener ‘Oblivion Shuffle’ synths trickle and squelch beneath vintage arcade bleeps, an off-kilter rhythm and mournful vocals. The palette of faintly dystopian electronics, unnerving ambience and scorched, wonky rhythmic pulses reoccur across the album on tracks like ‘Separation Code Is Togetherness Meta’, ’50 Million Motives For Making’, ‘Peace Javelin Heaven Bound’ and ‘Street Racer’.

Elsewhere on the record the guitar is more obviously prominent, and its presence allows the thematic subtleties of ACT’s music to flourish. It becomes clear after numerous listens that there is a push and pull at play across the whole project; one of optimism vs existentialism, of anxiety vs hope - a consistent theme of Psutka’s back catalogue. The track titles themselves even begin to reveal juxtaposition contained within and a deeper inspection of the lyrics reveals more.

‘Lotto’ and ‘Rebuild Your Body’ and title track, ‘Strange Bounty / About Life’ all feature slick classic soul hooks, silky vocals and smooth Balearic guitar licks over the idiosyncratic beats and distinctive electronic instrumentation. A perfect melding of the two seemingly disparate stylistic directions on the album. A real testament to the refinement promised by Psutka on this project.

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Alanna Stuart, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

Having established himself as one of the most sought-after young jazz guitarists in London, Jamie Leeming has steadily carved out his own musical niche, during his extensive work for the likes of Alfa Mist, Tom Misch and Jas Kayser. His debut EP ‘Heartsong’ gained support from Jazz London Radio as one of the “Best Jazz Releases of 2015” and his follow-up collaborative album ‘Flow’ (with pianist Maria Chiara Argirò) received critical acclaim for The Guardian’s “Jazz Album of the Month”. Leeming now unveils his debut solo long-player ‘Resynthesis’ via Alfa Mist’s Sekito imprint.

Jamie’scuriosity has always been a key part of his ever-evolving relationship with music. Whether that be as a teenager and being captivated by the cover of Miles Davis’ Bitches Brew in a local HMV, or his fascination with how we experience memories. ‘Resynthesis’ sees the guitarist creatively hitting his stride and exploring new sonic territories as he takes on the role of producer.

‘Resynthesis’ was created with the help of a handful of close friends, regular collaborators and some of the tightest young players around, many of whom met at an improvised music night hosted by Hugo Piper (who also plays on Resynthesis) called Champion Sounds. It was at one of these nights that the basis for ‘Champion’ was formed, plucked from a twenty second snippet recorded on a phone of one of the legendary jams, which has in turn been reimagined on ‘Resynthesis’ by some of the musicians that were present on the night itself. In addition to the trio instrumentation, Quinn Oulton and Nathaniel Facey lend their skills on saxophone. The album is tied together by artwork from painter and musician Kaya Thomas-Dyke, which includes reference to a number of the memories the album is inspired by.

This boxset features remastered versions of all of Sade’s studio albums to date, on pure 180 gram black vinyl the first complete collection of their studio work up to the present day All six of the band’s acclaimed albums Diamond Life 1984 Promise 1985 Stronger Than Pride 1988 Love Deluxe 1992 Lovers Rock 2000 and Solder Of Love 2010 are packaged into the beautifully finished, white case bound box Revisiting the audio, the band worked from high resolution digital transfers of the stereo master mixes, from the original studio recordings, remastered at half speed at Abbey Road Studios The elaborate, half speed mastering process has produced exceptionally clean and detailed audio whilst remaining faithful to the band’s intended sound No additional digital limiting was used in the mastering process, so the six albums benefit from the advantage of extra clarity and pure fidelity, preserving the dynamic range of the original mixes for the very first time The six album sleeves have been meticulously reproduced in exact detail with authentic paper and printing methods, perfectly replicated for the first time since their original release.


Over an exceptional career spanning more than three decades, Sade’s six albums have amassed over 60 million worldwide sales and have been certified platinum 24 times over Producing singles such as ‘Your Love Is King’, ‘Smooth Operator’ and ‘By Your Side’, Sade have gone on to achieve Number 1 albums across the world, collected several Grammys, MTV Video Music Awards, and a BRIT Award along the way, quietly taking their "place in the pantheon of cultural influence” New York Times, October 2017. Their most recent studio album, Soldier Of Love, charted at number one in 15 countries, including the US, upon release in 2010.

Am 16.09. erscheint eine neue, erweiterte Deluxe Edition von "Holidays In Eden", dem ursprünglich 1991 veröffentlichten Album von Marillion. Die neue Edition erscheint als 3CD/Blu-Ray-Buch und als 4LP-Set. Die Blu-Ray der Deluxe Edition enthält den brandneuen
2022 Stereo-Remix in 96/24 Stereo LPCM, DTS-HD Master Audio 5.1 und 96/24 5.1 LPCM sowie B-Seiten und Bonustracks wie die "The Moles Club"-Demos, aufgenommen nach dem langen Songwriting-Prozess der Band für das Album. Außerdem gibt es jede Menge
Video-Content, darunter eine ganz neue Doku, in der di Band über die Entstehungsgeschichte des Albums spricht, Promo-Videos in neuer HD-Qualität - und ein Live-Konzert, das damals im Rahmen der Reihe
"Rockpalast In Concert" im deutschen Fernsehen ausgestrahlt wurde. Außerdem gibt es jede Menge Video-Content, darunter eine ganz neue Doku, in der die Band über die Entstehungsgeschichte des Albums spricht, Promo-Videos in neuer HD-Qualität - und ein Live-Konzert, das damals im Rahmen der Reihe "Rockpalast In Concert" im deutschen Fernsehen ausgestrahlt wurde












l c2 Dry Land [4:40]

For fans of Rush, Evanescence and Progressive Metal! The synergistic sound and seemingly telepathic energy behind Dianthus can be traced to their beginnings in the heart of Riverside, California. Inspired by the well-known perennial flower, twin sisters (Jackie and Jessica Parry) bring forth delicate, yet dominant voices to the metal scene. An early upbringing in classical piano led them to begin creating music together at a young age. Not long after, they were captivated by the heavier genres in metal. The two enhanced their musical palettes with the addition of drums and electric guitar. Since forming, Dianthus has gained the likes of well-respected musicians such as Matt Sorum (Guns ‘N Roses / Velvet Revolver / Hollywood Vampires / The Cult) and Jeremy ‘Jinxx’ Ferguson (Black Veil Brides) who produced their debut CD. The twin metal duo are now ready to release their brand new album “Realms” which was produced by Steve Evetts (The Dillinger Escape Plan, Symphony X, Butcher Babies, etc.). They had previewed the tracks “Realms” and “Creeping In” during the height of the pandemic in 2020 and now have finally been able to get in the studio and finish up their much-anticipated sophomore release. “Dianthus just released their new single "Realms" and it's probably going to get stuck in your head. The duo employs soaring guitar melodies, perfectly grounded drums, and excellent vocal hooks through the track for an overall killer experience.” – Metal Injection

Track listing: Realms; My First Breath Don't Change Creeping In The Quest for Nessie Spines Side B A Space in the Silence The Returning Lonicera Heart's Ease Nora's Finding; Secrets & Promises

Ben Auld writes songs whose heartbreak and wonder reveal themselves
moments after the warmth of their beauty sinks in, like slipping into the
ocean on a bronzy morning
Whether he's singing about bookstores and porches or ghosts and space
stations, the Bristol, UK-based singer-songwriter imbues his straight-to-tape gems
with a radiant AM pop warmth. And on Lemongrass, due ia Earth Libraries, that
comfy songwriting crackles and pops somewhere between Roger McGuinn and
Gram Parsons. Auld's debut record brims with homespun charm, dazzling
melodies, and lyrics that burrow deep into the heart.
Throughout the album, the immaculately arranged compositions provide the
perfect frame for smooth and rosiny vocals. Utilizing a series of reel-to-reel tape
machines, Auld chose to meticulously stack his instrumentation rather than
simplify; some songs have dozens of instrumental tracks, all assembled on tape.
"I'd record three tracks, bounce that over, and then record another three. I did it
alone and it took a long time to figure out what was possible," he says. "I went
through two four- track recorders, an 8- track 1/2" reel- to- reel, and finished the
album on a TASCAM 388. One of the biggest challenges of the album was fixing
all the broken old gear."
With each new listen, Lemongrass becomes a fonder friend, Auld's heart-on-hissleeve lyricism and intimate songwriting building a deeper nest. "The time is
ours/ Our time is now," he insists on the psychedelic wonder of "Our Time Is
Now", more certain and wide-eyed than urgent. Through first love and heartbreak,
dawns and apocalypses, Lemongrass keeps turning, collecting flickers of astral
bliss with each rotation, Auld's thumping heartbeat at the core.

2LP + 7'' 2022 Repress

This limited edition set contains the original LP plus a 10 track bonus LP and a bonus 7” with 2 previously unreleased tracks.
Remastered and pressed on colour vinyl with a reworked sleeve by original designer Andy Royston.
Including the singles Boy Meets Girl, So What; Should The Bible Be Banned; Keep An Open Mind Or Else & This Nelson Rockerfeller.
Originally released in 1989. The Enraged Will Inherit the Earth is a musical molotov cocktail that’s a mixture of power chords and virile, virtuous lyrics.
The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn’t get enough of a user base to make its intended impact. If the question was ever proposed, “can art be a weapon?” I think this album answers with a bold and resounding “yes.”

It has only been four catalogue numbers in the past since.....

Generali Minerali (Tbisili/Georgia) cooperated with RNBWS and made a fuzz. This time he’s on a solo path, or - according to the title - maybe alongside Kim Jong-un?

“Batteries aren’t low” gets to the heart of Generali’s sense for sounds: Softly billowing Electro, a vocal sample which kinda sounds like P. Diddy and harmonies that could well have been on “Selected Ambient Works II”. Come on, let’s go!
Point before line calculation or cryptic code? We don’t know for sure, but “5-5-6:5-6-5“ remains true to the ambient focus of the a-side. Retro 90s vibe, cosmic, prancing and floating - like stumbling into the chill out area for the first time on a muzzy Sunday morning.

“I got it” comes in significantly more abstract. Harmonies give way to industrial sounds, without vanishing entirely. Electric boogie with litte acid nuances - beautiful prelude to the b-side!
In terms of acid, „Smooth D“ puts a few blotters on top. A combination of psych sounds, dirty raw drums and trippy sequences. Two tickets for the 90s time capsule, please.

A companion album to Jamaican dub singer Horace Andy's 'Midnight Rocker', 'Midnight Scorchers' is an artful sequel to the hugely acclaimed album featuring dancehall reimaginations from Adrian Sherwood, practically the modern messiah of dub. Sherwood was already doing masterful work on the original album, using live studio instrumentation to make Andy's voice mor vibrant and powerful - leading to multiple five star reviews. 'Midnight scorchers' takes a soundsystem approach to the proceedings, adding MC features, new tracks and stripped back re-imaginings of the tracks into the more traditional reggae style of dub that Andy would've ended up recording if not for the masterful production that Sherwood brought to the table. Housed on a limited transparent orange disc and stunning artwork, this is a huge dub release and not one to miss out on.

Das neue Album "SPARK" stellt WHITNEY als zeitgemäßes Syndikat des klassischen Pops vor, dessen Dutzend fantasievoller und liebenswerter Tracks bezaubernde Melodien um Dilla-Beats im Paisley-Stil und üppige Electronic-Elemente wickeln. So überraschend es auch klingen mag - "SPARK" ist für WHITNEY weniger eine radikale Neuerfindung als vielmehr eine ehrliche Abrechnung damit, wie es sich anfühlt, wenn man aus der Vergangenheit in die Gegenwart aufbricht, wenn man die nächsten Schritte im Leben und in der Karriere auf einmal und ganz ohne Entschuldigung macht. "SPARK" behält dabei jedoch die Wärme und Leichtigkeit von WHITNEYs früheren Werken bei. Diese Songs glühen mit der Neuheit des Hier und Jetzt. Die Anfänge von "SPARK" gehen auf den Überraschungserfolg von WHITNEYs Debütalbum "Light Upon the Lake" aus dem Jahr 2016 zurück. Die sanft verzerrten Psych-Folk-Träume fanden schneller ein breites Publikum, als die beiden je erwartet hatten. Nach Jahren des ununterbrochenen Tourens fühlten sie sich gezwungen, denselben Sound auch für ihren Zweitling "Forever Turned Around" (2019) zu verwenden. Je weiter die Aufnahmesessions voranschritten, desto mühsamer wurden diese, da Julien und Max daran arbeiteten, Versionen von sich selbst zu sein, die sie nicht mehr waren; um Songs in einer Form zu schreiben, die einfach nicht mehr passte. Es fühlte sich nicht mehr wie ihre Musik an, sondern lediglich wie ein Überbleibsel ihrer anfänglichen Begeisterung. Sie hatten kaum genug Material oder Energie, um fertig zu werden. Max und Julien wussten, dass eine drastische Veränderung notwendig war, aber sie hätten nie gedacht, dass Lockdowns im Zuge der Pandemie dies erleichtern würden. Wochen nachdem Julien nach dem Ende einer jahrelangen Beziehung nach Portland gezogen war, um einen klaren Kopf zu bekommen, folgte ihm Max in der Hoffnung, mit seinem besten Freund und Co-Autor dem langen Winter in Chicago zu entkommen. Vier Tage später wurden die Flüge gestrichen. Anstehende Tourneen wurden abgesagt. In den nächsten 14 Monaten arbeitete die Band mit einem Eifer und einer Entschlossenheit, die an ihre Anfänge erinnerten, bevor der Erfolg die Erwartungen bestimmte. Aufgenommen in Texas mit den Produzenten Brad Cook und John Congleton ist "SPARK" ein inspirierendes Zeugnis für Durchhaltevermögen und Erneuerung geworden, für beste Freunde, die einander genug vertrauen, um sich gegenseitig auf die andere Seite zu tragen.

Das neue Album "SPARK" stellt WHITNEY als zeitgemäßes Syndikat des klassischen Pops vor, dessen Dutzend fantasievoller und liebenswerter Tracks bezaubernde Melodien um Dilla-Beats im Paisley-Stil und üppige Electronic-Elemente wickeln. So überraschend es auch klingen mag - "SPARK" ist für WHITNEY weniger eine radikale Neuerfindung als vielmehr eine ehrliche Abrechnung damit, wie es sich anfühlt, wenn man aus der Vergangenheit in die Gegenwart aufbricht, wenn man die nächsten Schritte im Leben und in der Karriere auf einmal und ganz ohne Entschuldigung macht. "SPARK" behält dabei jedoch die Wärme und Leichtigkeit von WHITNEYs früheren Werken bei. Diese Songs glühen mit der Neuheit des Hier und Jetzt. Die Anfänge von "SPARK" gehen auf den Überraschungserfolg von WHITNEYs Debütalbum "Light Upon the Lake" aus dem Jahr 2016 zurück. Die sanft verzerrten Psych-Folk-Träume fanden schneller ein breites Publikum, als die beiden je erwartet hatten. Nach Jahren des ununterbrochenen Tourens fühlten sie sich gezwungen, denselben Sound auch für ihren Zweitling "Forever Turned Around" (2019) zu verwenden. Je weiter die Aufnahmesessions voranschritten, desto mühsamer wurden diese, da Julien und Max daran arbeiteten, Versionen von sich selbst zu sein, die sie nicht mehr waren; um Songs in einer Form zu schreiben, die einfach nicht mehr passte. Es fühlte sich nicht mehr wie ihre Musik an, sondern lediglich wie ein Überbleibsel ihrer anfänglichen Begeisterung. Sie hatten kaum genug Material oder Energie, um fertig zu werden. Max und Julien wussten, dass eine drastische Veränderung notwendig war, aber sie hätten nie gedacht, dass Lockdowns im Zuge der Pandemie dies erleichtern würden. Wochen nachdem Julien nach dem Ende einer jahrelangen Beziehung nach Portland gezogen war, um einen klaren Kopf zu bekommen, folgte ihm Max in der Hoffnung, mit seinem besten Freund und Co-Autor dem langen Winter in Chicago zu entkommen. Vier Tage später wurden die Flüge gestrichen. Anstehende Tourneen wurden abgesagt. In den nächsten 14 Monaten arbeitete die Band mit einem Eifer und einer Entschlossenheit, die an ihre Anfänge erinnerten, bevor der Erfolg die Erwartungen bestimmte. Aufgenommen in Texas mit den Produzenten Brad Cook und John Congleton ist "SPARK" ein inspirierendes Zeugnis für Durchhaltevermögen und Erneuerung geworden, für beste Freunde, die einander genug vertrauen, um sich gegenseitig auf die andere Seite zu tragen.

Das neue Album "SPARK" stellt WHITNEY als zeitgemäßes Syndikat des klassischen Pops vor, dessen Dutzend fantasievoller und liebenswerter Tracks bezaubernde Melodien um Dilla-Beats im Paisley-Stil und üppige Electronic-Elemente wickeln. So überraschend es auch klingen mag - "SPARK" ist für WHITNEY weniger eine radikale Neuerfindung als vielmehr eine ehrliche Abrechnung damit, wie es sich anfühlt, wenn man aus der Vergangenheit in die Gegenwart aufbricht, wenn man die nächsten Schritte im Leben und in der Karriere auf einmal und ganz ohne Entschuldigung macht. "SPARK" behält dabei jedoch die Wärme und Leichtigkeit von WHITNEYs früheren Werken bei. Diese Songs glühen mit der Neuheit des Hier und Jetzt. Die Anfänge von "SPARK" gehen auf den Überraschungserfolg von WHITNEYs Debütalbum "Light Upon the Lake" aus dem Jahr 2016 zurück. Die sanft verzerrten Psych-Folk-Träume fanden schneller ein breites Publikum, als die beiden je erwartet hatten. Nach Jahren des ununterbrochenen Tourens fühlten sie sich gezwungen, denselben Sound auch für ihren Zweitling "Forever Turned Around" (2019) zu verwenden. Je weiter die Aufnahmesessions voranschritten, desto mühsamer wurden diese, da Julien und Max daran arbeiteten, Versionen von sich selbst zu sein, die sie nicht mehr waren; um Songs in einer Form zu schreiben, die einfach nicht mehr passte. Es fühlte sich nicht mehr wie ihre Musik an, sondern lediglich wie ein Überbleibsel ihrer anfänglichen Begeisterung. Sie hatten kaum genug Material oder Energie, um fertig zu werden. Max und Julien wussten, dass eine drastische Veränderung notwendig war, aber sie hätten nie gedacht, dass Lockdowns im Zuge der Pandemie dies erleichtern würden. Wochen nachdem Julien nach dem Ende einer jahrelangen Beziehung nach Portland gezogen war, um einen klaren Kopf zu bekommen, folgte ihm Max in der Hoffnung, mit seinem besten Freund und Co-Autor dem langen Winter in Chicago zu entkommen. Vier Tage später wurden die Flüge gestrichen. Anstehende Tourneen wurden abgesagt. In den nächsten 14 Monaten arbeitete die Band mit einem Eifer und einer Entschlossenheit, die an ihre Anfänge erinnerten, bevor der Erfolg die Erwartungen bestimmte. Aufgenommen in Texas mit den Produzenten Brad Cook und John Congleton ist "SPARK" ein inspirierendes Zeugnis für Durchhaltevermögen und Erneuerung geworden, für beste Freunde, die einander genug vertrauen, um sich gegenseitig auf die andere Seite zu tragen.

Jesca Hoop returns with her sixth album, Order of Romance, a record that fortifies her position as one of the most striking and original voices in contemporary music. Order of Romance is Hoop's most intricate and finely balanced album to date, one that draws on classic song writing, recalling anything from Gershwin to Paul Simon, but creating something that is unmistakably, indelibly Jesca Hoop. It is a deep dive into craft. In the summer of 2021, Hoop once again ventured south from her adopted home of Manchester to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding), her collaborator for 2019's Stonechild. This time additional assistance came from in Jess Vernon (This is the Kit) to arrange for a four-piece horn and woodwind quintet. Legendary drummer Seb Rochford lent his skills, John Thorne plays the bass and Chloe Foy and Rachel Rimmer were enlisted to deliver Hoop's signature vocal arrangements. The result is a fruitful marriage of song craft and arrangement, brimming with a cinematic charm and lyrical wit that signify a new chapter full of new life for an artist who knows her mind, her heart and voice well enough to trust them in uncharted territory.

Jesca Hoop returns with her sixth album, Order of Romance, a record that fortifies her position as one of the most striking and original voices in contemporary music. Order of Romance is Hoop's most intricate and finely balanced album to date, one that draws on classic song writing, recalling anything from Gershwin to Paul Simon, but creating something that is unmistakably, indelibly Jesca Hoop. It is a deep dive into craft. In the summer of 2021, Hoop once again ventured south from her adopted home of Manchester to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding), her collaborator for 2019's Stonechild. This time additional assistance came from in Jess Vernon (This is the Kit) to arrange for a four-piece horn and woodwind quintet. Legendary drummer Seb Rochford lent his skills, John Thorne plays the bass and Chloe Foy and Rachel Rimmer were enlisted to deliver Hoop's signature vocal arrangements. The result is a fruitful marriage of song craft and arrangement, brimming with a cinematic charm and lyrical wit that signify a new chapter full of new life for an artist who knows her mind, her heart and voice well enough to trust them in uncharted territory.

Middle Eastern psych-rock collective Al-Qasar"s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music. The band calls it "Arabian fuzz." Brazenly electric yet deeply connected to their roots, guests include Lee Ranaldo (Sonic Youth), Jello Biafra (Dead Kennedys) and Alsarah (Alsarah & The Nubatones). Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Al-Qasar was born in the Barbès neighbourhood of Paris," explains band leader Thomas Attar Bellier. "I"ve lived in Los Angeles, Paris, New York, Lisbon... I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today". The musicians came together from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world"s most dangerous wedding band. During those years spent behind the control board, Attar Bellier made some good friends in the US, and they"ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys" Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record"s social critique while showcasing the first-ever English recording of Negm"s work. Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. "Lee sent me upwards of eighteen guitar tracks," says Attar Bellier in amazement. "It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee"s vibe just fit perfectly with what I was trying to do with the track." Who Are We? is an exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock"n"roll. It is modern folklore, a reflection of the cross-cultural societies we"ve become.

“Good evening Black Buddha” is Black Jesus eXperience’s seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes "Good Evening Black Buddha", celebrating togetherness. Darkness is light.

At the heart of Black Jesus eXperience’s inspiration is Ethiopian/Australian singer Enushu Taye. Enushu’s openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of "Good Evening Black Buddha" and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) compliments and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair.

The songs on “Good Evening Black Buddha” rove from the lightness of touch of a trio to BJX’s full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister guitar, Larry Crestani guitar and his own invention ‘kraartar’, over the deep grooves of Richard Rose bass, James Davies kit, and Kahan Harper percussion. Black Jesus eXperience is also proud to be joined by our friends conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.