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This record captures the amazing live energy of Santrofi, a young 7 piece from Ghana with a mission to bring Highlife back. For this record they are backed by Berlins finest 14 piece brass band: the Omniversal Earkestra. Over 25 great musicians on stage all playing their hearts out, all captured on this live LP.

The album documents the grande finale of the ‚Deep into Highlife‘ project taking place 2021/22 in Ghana and Germany. The project started off in Accra with Highlife shooting stars Santrofi inviting numerous artists on stage for a series of concerts and jamsessions. The guests included Highlife legends A.B. Crentsil (RIP) and A.K. Yeboah, but also newcomers like Camidoh, Black Sherif or drill rapper Yaw Tog from Kumasi.

In May/June 2022 Santrofi brought the ‚Deep into Highlife‘ experience to Germany. The lineup featured two special guests: The guitar band legend A.K. Yeboah, a pioneer of Ghanas Highlifescene and father of famous guitar ace Kwame Yeboah. And Ghana drill pioneer Yaw Tog from Kumasi known as ‚young bull‘ by his fans back home.

The final concert of the tour took place at Kulturbrauerei in Berlin on June 2nd 2022. For this very special event Santrofi was backed by Berlin’s finest brass unit the Omniversal Earkestra. The band is a 14 piece brass collective making waves recently with their ‚Le Mali 70‘ album which took them on a recording trip to Mali.

The album features live versions of some of Santrofis most popular songs backed by the Omniversal Earkestra who wrote horn arrangements for this special session. It also features ‚Suru nipa‘ an original composition by A.K. Yeboah in which the singer gives invaluable advice to his audience: „Don’t be afraid of ghosts, be afraid of humans“. And a version of Yaw Tog’s single ‚Sei mu‘.

We invite you to witness the incredible live energy of Santrofi and their lovely collaborators: Let us share this beautiful night with you.

Catatonic Suns is Patrick Shields (guitar, vocals) , Jakob Christman (bass) and Caleb Strobl (drums) Catatonic Suns new album sees them blend the underground psychedelia of the late 80s / early 90s Pacific Northwest with the shimmering shoegazery of Britain from the same time. Heavy and soft guitars, songs that soar, these new recordings verge on the epic. For fans of The Verve (early), Screaming Trees, Truly, Ride, Slowdive, Alice In Chains. Pennsylvanian threepiece Catatonic Suns release their brand new album via Agitated records this autumn (Fall if you reside in the US), Patrick and Jake have known each other since birth, obsessing on punk rock, but the band actually formed in 2019. Vocalist / guitarist Patrick and fellow guitarist Llambro Llaguri began creating homemade psychedelic psychedelic 4 track cassette demos during the Winter of 2015, taking heavy inspiration from an eclectic mix of acts ranging from Ween to R.E.M. As these early songs were created, the duo sought other like minded individuals in their hometown of Allentown, PA to take these primitive demos to the next level. It was then that Patrick recruited another childhood friend, Jakob Christman, to fill the role of bass along with another mutual friend Caleb Strobl completing the rhythm section of Catatonic Suns. In 2019, the group put out their first release, the Catatonic Suns demo, a collection of lo-fi recordings made by Patrick over the years. During this period, the band began to make a name for itself by playing shows across eastern Pennsylvania including the Lehigh Valley where local garage rock heroes Original Sins hailed from. During the months of August and September of the same year, Catatonic Sun's reputation for wall of sound psych-grunge was really brought to life when the group teamed up with local record producer guru Matt Molchany of Shards Recording Studio to track their debut studio venture “Aphelion” (more an extended EP). Self -Released in the December, the album found an audience beyond the local music circuit of Pennsylvania, even reaching countries such as the U.K.,Germany and Japan. The band continued to play shows growing their fanbase and honing their skills as a cohesive unit resulting in radio airplay across the country and a feature on the compilation “Pedal Worship” by Bummer Recordings. During this same period, Matt Molchany once again helped the band carve their next album (a full length) “Saudade” along with mastering engineer Matt Poirier (War On Drugs), which was also self released, in February 2022. They played plenty more gigs, and ventured to the west coast for some shows in LA with local friends Laurel Canyon, one especially wild night was with both bands supporting Strawberry Alarm Clock at the Whiskey A Go Go. Now a three piece and into 2023 the band record the 7 original songs and one Original Sins cover for this new release.. Recorded early 2023 at Shards Recording Studio, Bethelem, PA with tracking and mixing once again by Matt Molchany. Mastered by Mikey Young. Agitated/ Catatonic Suns intend to remaster/ reissue Saudade on LP / CD formats in 2024, to coincide with debut UK shows.

Taken from 'Escandalo' by Perez Prado & Don Alfio,'Circle' was written by Mario Rusca and performed by
some amazing musicians such as Tullio De Piscopo, Hugo
Heredia and Pino Presti.
Perez Prado is Pantaleon Perez Prado, the younger
brother of the 'King of Mambo' who came to Europe in the
50s and recorded several albums with Unifunk.
'Circle' is a strong track with a killer groove and it's not
hard to imagine it as the perfect score for a car chase.

Im Herbst 2023 erscheint bei Erased Tapes das Album Give It to
the Sky: Arthur Russell"s Tower of Meaning Expanded. Bei der
vom Komponisten und Producer Peter Broderick und dem 12-
köpfigen Ensemble 0 aus Frankreich aufgenommenen Version,
handelt es sich um eine erweiterte Neuinterpretation von Arthur
Russells minimalistischer Orchesterkomposition "Tower of
Meaning", die erstmals im Jahr 1983 veröffentlicht wurde. "Give
It to the Sky.." vereint zudem auch unveröffentlichte Stücke von
Russell, die überarbeitet und neu aufgenommen wurden. Mit
ihrer umwerfenden, insgesamt 80 Minuten langen Hommage
hauchen Broderick und Ensemble 0 dem "Tower of Meaning"
neues Leben ein und verknüpfen diesen minimalistischen
Meilenstein mit etlichen verlorenen Songideen aus Russells
Nachlass. Das komplette Album, das so gut wie ohne Overdubs
auskommt, wurde live in einem kleinen Theater im Südwesten
Frankreichs eingespielt. Gewiss war Russell nie ein Freund
endgültiger Versionen. Er dachte kontinuierlich über die
Möglichkeiten eines Stücks nach und fragte sich, was es sonst
noch alles sein oder werden könnte. "Give it to the Sky" knüpft
ganz klar an diese Herangehensweise an, indem es "Tower of
Meaning" als grobes Framework nutzt, um darauf aufzubauen,
diesen atmenden Kern nach oben und nach außen zu erweitern
- und insgesamt etwas entstehen zu lassen, das man ganz klar
in Russells wundersam-paradoxer Welt verorten kann. Auch
"Give it to the Sky" kann somit keineswegs als letztes Wort oder
ultimative Interpretation gedacht sein. Broderick und Ensemble
0 sind längst darüber im Austausch, welche Formen es auf der
Bühne annehmen oder wohin es sonst führen könnte.

Im Herbst 2023 erscheint bei Erased Tapes das Album Give It to
the Sky: Arthur Russell"s Tower of Meaning Expanded. Bei der
vom Komponisten und Producer Peter Broderick und dem 12-
köpfigen Ensemble 0 aus Frankreich aufgenommenen Version,
handelt es sich um eine erweiterte Neuinterpretation von Arthur
Russells minimalistischer Orchesterkomposition "Tower of
Meaning", die erstmals im Jahr 1983 veröffentlicht wurde. "Give
It to the Sky.." vereint zudem auch unveröffentlichte Stücke von
Russell, die überarbeitet und neu aufgenommen wurden. Mit
ihrer umwerfenden, insgesamt 80 Minuten langen Hommage
hauchen Broderick und Ensemble 0 dem "Tower of Meaning"
neues Leben ein und verknüpfen diesen minimalistischen
Meilenstein mit etlichen verlorenen Songideen aus Russells
Nachlass. Das komplette Album, das so gut wie ohne Overdubs
auskommt, wurde live in einem kleinen Theater im Südwesten
Frankreichs eingespielt. Gewiss war Russell nie ein Freund
endgültiger Versionen. Er dachte kontinuierlich über die
Möglichkeiten eines Stücks nach und fragte sich, was es sonst
noch alles sein oder werden könnte. "Give it to the Sky" knüpft
ganz klar an diese Herangehensweise an, indem es "Tower of
Meaning" als grobes Framework nutzt, um darauf aufzubauen,
diesen atmenden Kern nach oben und nach außen zu erweitern
- und insgesamt etwas entstehen zu lassen, das man ganz klar
in Russells wundersam-paradoxer Welt verorten kann. Auch
"Give it to the Sky" kann somit keineswegs als letztes Wort oder
ultimative Interpretation gedacht sein. Broderick und Ensemble
0 sind längst darüber im Austausch, welche Formen es auf der
Bühne annehmen oder wohin es sonst führen könnte.

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Braake - eine fünfköpfige Gestalt, die mit sicheren Schritten eine dunkle Nebenstraße des deutschen Pop heruntergelaufen kommt. Im Oktober 2023 werden sie uns mit ihrem Debütalbum "Kann ja alles sein" erreichen - im Herzen wie im Hirn. Benno Bings, Till Schomburg und Gregor Zenns lernten sich in ihrer Berliner Stadtrandjugend kennen. Schließlich stießen Camillo Kießig und Julian Colin dazu. Letzterer fungiert ebenfalls als Produzent und arbeitete bereits mit Künstlern wie Tristan Brusch oder Trille zusammen und betreibt heute ein analoges Tonstudio in Neukölln. "Kann ja alles sein" kommt im warmen Klanggewand vom Folk und Rock der 70er daher, aber die Songs sind individuelle Maßanfertigungen in modernem Schnitt. Accessoires von Surf-, Desert-, Krautrock und New Wave schlenkern über einem unbeirrten, aber unzuverlässigen Takt.

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

Hier hatten sich die Klänge aus dem nahen Mali und Guinea mit den lokalen Stilen vermischt und eine reiche Musikszene hervorgebracht: Bands wie Bembeya Jazz, Super Djata Band und andere Mandingue-Giganten gehörten zu den Bestsellern der Region. Leon Keïta, eine feste Größe in der malischen Musikszene, wurde 1947 in Conakry an der Atlantikküste von Guinea geboren. Leon half bei der Gründung der legendären Rail-Band, die zu einer gefeierten Stütze des Nachtlebens in Bamako wurde und die internationalen Karrieren von Salif Keita, Mory Kanté u.v.a. begründete. Leon selbst schloss sich Les Ambassadeurs Internationaux an, mit denen er durch Westafrika tourte, bevor er sich der Arbeit an seinen eigenen Kompositionen zuwandte. Als Leon bereit war, ins Aufnahmestudio zu gehen, lud er seine Freunde von Les Ambassadeurs Internationaux ein, ihm als Begleitband zu dienen; aus dieser Zusammenarbeit gingen zwei Platten hervor, die beide 1978 auf dem Label Papa Disco veröffentlicht wurden. Ein Jahr später veröffentlichte Leon "Rythmes et Mélodies du Mali", das er gemeinsam mit seinem Bruder Germain geschrieben hatte und das vom großartigen Orchestre Black Santiago begleitet wurde. Obwohl Leon nicht viele Soloaufnahmen gemacht hat, erwecken seine Lieder weiterhin die Verehrung aller, die das Glück haben, sie zu hören. In den letzten Jahren wurde der Song "Dalaka" von Carlos Estrada, dem Betreiber des Soundsystems in Barranquilla, wiederentdeckt und wurde zu einem unerwarteten Hit an der kolumbianischen Karibikküste. Zwölf Jahre nach der Veröffentlichung der von der Kritik hochgelobten Bambara Mystic Soul Compilation taucht diese neue Zusammenstellung erneut tief in die Mandingue-Kultur ein, die während Leon Keïtas legendären Sessions Ende der 70er Jahre aufgenommen wurden.

Ein Todesfall und zwei Abschiede: Das neue und sechste Joy-Denalane-Album erscheint am 6. Oktober 2023. »WILLPOWER« erzählt vom Loslassen, von Trauer, aber auch von einer neu gewonnen Freiheit - und von Selbstermächtigung. Ein Sprung ins Unbekannte mit wild oszillierendem Happysad-Soul von unbändiger Intensität. 11 neue Tracks, darunter ein Feature mit Wu-Tang Clan Legenda Ghostface Killah und produziert von Roberto Di Gioia - sowie mit Max Herre. Bei einigen ausgewählten Stücken auf »WILLPOWER« spielt kein Geringerer den Bass als der US-amerikanische Jazzmusiker Tim Lefebvre, der zuletzt unter anderem die Band geleitet hatte, mit der David Bowie sein letztes Album »Blackstar« aufgenommen hat. Auf »WILLPOWER« geht es nun um die Dinge, die noch kommen, den Weg, der vor ihr liegt. Das Flirrende und das Gravitätische, scheinbar wiederstrebende Pole, aus denen das Kraftzentrum entsteht, das diese Frau in elf schwerelos der Unendlichkeit entgegengleitenden Songs errichtet hat. Mit Willenskraft, Resilienz, aber auch und vor allem Akzeptanz. Das Album erscheint als farbige 180g Vinyl mit 16 seitigem Vinyl-Booklet oder im viertseitgem Digisleeve mit Booklet, beide Ausführungen in hoher Papiergrammatur.

Carole Kings klassisches Weihnachtsalbum "A Holiday Carole" erschien 2011. Die 12 Songs des von ihrer Tochter Louise Goffin produzierten Albums vereinen kunstvoll das Spirituelle und das Weltliche mit einer bunten Mischung aus Christmas-Klassikern und neu geschriebenen Songs. Goffin hat drei Titel des Albums mitgeschrieben, darunter "Christmas in Paradise", bei dem sie mit den Grammy-Preisträgern George Noriega und Jodi Marr zusammengearbeitet hat, die erhabene Goffin/Marr-Komposition "Christmas In The Air" und das tief bewegende "New Year's Day", das sie gemeinsam mit dem renommierten Songschreiber Guy Chambers geschrieben hat. "Als erfahrene Produzentin", erinnert sich King, "war Louises erste Frage an mich als Künstlerin: 'Welche Songs magst du?'" Nachdem sie eine Liste ihrer Favoriten zusammengestellt hatte, machte sich Goffin auf die Suche nach ungewöhnlicheren Stücken und stieß dabei auf Stücke wie den Stax-Klassiker Every Day Will Be Like A Holiday" von William Bell & Booker T. Jones. King drückt der Musik ihren eigenen, unverwechselbaren Stempel auf und verleiht ihr ein weihnachtliches Flair. Für King ist der emotionale Höhepunkt des Albums zweifellos "Chanukah Prayer". "Louise hatte die brillante Idee, das Chanukka-Gebet zu nehmen, das ich von meinen Eltern gelernt habe und sie von ihren Eltern, und zwar über Generationen hinweg", erklärt sie. "Sie sagte: 'Ich möchte dich aufnehmen, wie du das singst, und ich werde einen Song darum herum komponieren.'" Das Ergebnis ist ein warmes, von Jazz geprägtes Stück, das drei Generationen gesanglich vereint: King, ihre Tochter und ihren Enkelsohn.

"Pretty Paper" ist das erste Weihnachtsalbum und das 24. Studioalbum des Country-Sängers Willie Nelson. Es war auch seine letzte Veröffentlichung in den 1970er Jahren. Nelson wendete sich erneut an den Produzenten und Arrangeur Booker T. Jones, mit dem er im Jahr zuvor am gefeierten Album "Stardust" gearbeitet hatte. Der selbst komponierte Titelsong war 1963 ein Weihnachtshit gewesen, als er von Roy Orbison veröffentlicht wurde. Willie liefert außerdem äußerst charmante Interpretationen von "White Christmas", "Jingle Bells", "Silent Night", "Here Comes Santa Claus", "Frosty the Snowman", "Blue Christmas", "Winter Wonderland" und mehr!

Dolly Parton's, A Holly Dolly Christmas, features special guest performances from Michael Bublé, Miley Cyrus, Willie Nelson, Billy Ray Cyrus, Jimmy Fallon and her brother Randy Parton. The limited-edition LP is pressed on silver vinyl.

With the album "Souvent Fauché Toujours Marteau", Bérurier Noir completed seven years of permanent agitation. More than a title, it's a demand that puts a masterly end to the epic of the herd of rock. The themes dear to Les Bérus blend together in the ultimate uproar: anti-militarism, resistance to drugs, nostalgia for the squats that nurtured a rebellious youth, revolt in the ghetto suburbs, international solidarity... all underlined by a zest of Bérurière madness. The band also experimented with hip hop sounds and surprising, welcome oriental resonances, echoes of folklore from the world zone. However, this album abandons the satirical aspects with which its predecessors were imbued. The tone is no longer one of facetiousness: our two clowns have written their epitaph, and it is resolutely black.

After releasing her acclaimed debut album "EROSÃO" (Fun in the church 2021), Mariá Portugal launches the original soundtrack she composed for the chilean movie "1976". Directed by Manuela Martelli, the movie premiered at the Quinzaine des Réalisateurs in Cannes in 2022 and has been collecting awards, among them Tokyo, BFI London, Athens and Jerusalem International Film Festival.

Portugal combines analog synthesizers (especially ARP - 2600 and Moogs) with brass and wind instruments to create a pungent score which evolves together with the character in the movie, in a process of continuous humanization in which artificial becomes human.

The score have the participation of the Rotterdam - based french hornist Romain Bly (Bonsai Panda), the Brazilians Maria Beraldo and Joana Queiroz (Quartabê) on clarinets and bass clarinets, and the german tubist Carl Ludwig Hübsch. The improvisations by both Beraldo on clarinets and Hübsch on Tuba have a very special importance within the written score.

Summit Fever is a pair of industry veterans who opt to stay out of the spotlight and prefer to let the music speak for itself. Here they emerge from the shadows with a four-tracker entitled ‘Something Forever’ that includes a mesmerizing remix by Larse (Defected, Glitterbox, DFA, Eskimo). Prepare to be taken on an exhilarating journey back in time as they showcase their love for classic ‘90s house that is set to captivate the hearts and ears of house music enthusiasts and reignite the flame of nostalgia.

DJ support: Wolfram, Jimpster, Marcel Vogel, Graeme Park, Souldynamic, Hifi Sean, Androosh, Johannes Albert, Willie Graff, Dave Jarvis, Pastaboys, DJ Harri, Lisa Loud, Jerry Bouthier, Kiko Navarro, Kelvin Andrews, Neil, Diablo, Lex Athens, Rocksteady Disco, Flash Atkins, FSQ, Mr Shiver, Ravanelli Disco Club, Ed Maho