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Emanuela Hutter and Oliver Baroni front this Anglo-Italian masterly, modern rockabilly band, making worldwide waves from their home base of Zurich. Highlights of this 2011 relaunch album Buy Beg or Steal include a rockabilly cover of Enola Gay and their classic hit duet between Demented Are Go"s Sparky and Emanuela: My Love For Evermore. The song"s murder ballad viral video now has over 25,000,000 views. An international cult hit, it has also inspired myriad tattoos, multiple 7" pressings and well over fifty cover versions. The LP version features an exclusive extra track.

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

It took a village to create Le Motel’s Odd Numbers / Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life—purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy.

Le Motel—who runs the Brussels-based record label Maloca—gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers / Số

Lẻ—which takes its title from traditional Vietnamese numerological beliefs and customs—is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album’s final shape was deeply dependent upon the participation of the people the artist met in Vietnam.

Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album’s 15 tracks feature multiple composer credits. Among the album’s diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel’s own music (and, in one case, psychedelics).

The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening—about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It’s an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel’s Odd Numbers / Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.

Complementing the album, Le Motel’s Odd Numbers / Số Lẻ also takes the form of a multimedia exhibition including photographs, video, and text-based works created in collaboration with Belgian designer and programmer Antoine Jaunard and Vietnamese poet Phapxa Chan. The exhibition is on view from January 23 until March 2, at Brussels’ 254Forest gallery, as part of Photo Brussels Festival 2025.

Six songs that are worth it. Manic electropunk that somehow - consciously or as collateral damage - manages to pack that seventies goblin horror movie vibe (on one track it's also a video game soundtrack) into catchy and contemporary songs that just move forward. Big guitars, big synthesizer, big drum beats and those nasty melodies that can still accelerate demons in 2023. A bit of VOLT could be mentioned as a reference, but the band from mighty, mighty Offenbach (for a world career I would suggest Frankfurt) clearly has its own flair and, despite the home recording, seems so powerful that it hurts. Compared to the Bandcamp stream on vinyl and a decent system, “Havana Syndrome” sounds much more powerful. The almost cheap beatbox is the real icing on the cake, because the guitar, the bass and, above all, that divinely played synthesizer are so amazing that I'm inclined to want a child from a band for the first time. I'll tell you straight away, it won't be pretty, but at least it'll be talented. Exquisite 12”, which especially calls for a second helping! Shortly before the ten points, but there is still something going on.

Super sweet sleepover core from the turn of the millennium. When not at the mall or elementary school, Jessica, Ayden, Janet, and Mary created a suburban Spice World all their own, singing, dancing, and making videos in anticipation of a global pop takeover. Summer 2000 expands their home-burned Y2K CD-R Stardust, encapsulating girl group R&B, trip hop, Eurofunk, and pool party heartbreak into a revealing portrait of millennial girlhood. Party til 2, sleep til 1, come on baby let's have some fun.

1.12Bangin' On The Freeway - Bonus Track
1.13ECRP - Bonus Track

In diesem Jahr hat Kim Gordon ihr hochgelobtes und bahnbrechendes zweites Soloalbum The Collective veröffentlicht. Das Album wurde von Fans und Kritikern gleichermaßen gelobt. Die New York Times, Pitchfork, Rolling Stone, VOGUE, Vulture, NME, The Quietus und viele mehr nannten es bereits eines der besten Alben des Jahres 2024. Nun erscheint eine Deluxe Edition des Vinyls. Die Deluxe Edition enthält zwei neue Songs, das bereits veröffentlichte "ECRP" und den neuen Track "Bangin" On The Freeway", der von einem Video unter der Regie ihrer Tochter Coco Gordon Moore begleitet wird. Kim sprach über die neue Veröffentlichung und 2024 und sagte: "Ich fühle mich, als würde ich gerade erst anfangen! Danke für die ganze Liebe!" Die limitierte Deluxe-Version der Vinyl-Platte enthält eine 7" mit den 2 Bonustracks im LP-Sleeve und ist auf silbernem Vinyl gepresst. Gordon hatte ein turbulentes Jahr, in dem sie in ausverkauften Sälen und auf Festivals auf der ganzen Welt spielte, darunter Auftritte beim Glastonbury, Le Guess Who, Bumbershoot Festival und Ohana Festival. Das in Gordons Heimatstadt Los Angeles aufgenommene Album The Collective folgt auf ihr 2019 erschienenes Debüt No Home Record und setzt ihre Zusammenarbeit mit Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor) fort, mit zusätzlicher Produktion von Anthony Paul Lopez. Das Album treibt ihre gemeinsame Welterschaffung voran, wobei Raisens beschädigte, aufgeblasene Dub- und Trap-Konstruktionen die Folie für Gordons intuitive Wortcollagen und hooky Mantras bilden, die Kommunikation, kommerzielle Sublimierung und sensorische Überlastung beschwören.

February 2014 saw the band release their 'Back To Bagarmossen' EP on London/Stockholm indie label PNKSLM Recordings. The 10' vinyl received huge praise both internationally and at home, even picking up mainstream TV coverage on Sweden's TV4. Following the EP, Les Big Byrd are now preparing to unleash their debut full length release, 'They Worshipped Cats', on Anton Newcombe's A Records ,Anton has co written & plays 2 tracks on the album . They are supporting the Brian Jonestown Massacre on their European tour . When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. They each eventually joined different rock bands that brought them out of Sweden and into a different world. Frans' band Fireside, got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with 60's-influenced garage-pop outfit Caesars, as well as his other, more electronically flavored project Teddybears. They decided that they still - in spite of everything - had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Swedens most interesting black metal acts.

February 2014 saw the band release their 'Back To Bagarmossen' EP on London/Stockholm indie label PNKSLM Recordings. The 10' vinyl received huge praise both internationally and at home, even picking up mainstream TV coverage on Sweden's TV4. Following the EP, Les Big Byrd are now preparing to unleash their debut full length release, 'They Worshipped Cats', on Anton Newcombe's A Records ,Anton has co written & plays 2 tracks on the album . They are supporting the Brian Jonestown Massacre on their European tour . When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. They each eventually joined different rock bands that brought them out of Sweden and into a different world. Frans' band Fireside, got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with 60's-influenced garage-pop outfit Caesars, as well as his other, more electronically flavored project Teddybears. They decided that they still - in spite of everything - had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Swedens most interesting black metal acts.

Poetry of the Deed is the third studio album by London-based singer-songwriter Frank Turner. Unlike Turner's previous solo albums, Poetry of the Deed was rehearsed, arranged and recorded with his full band. This marked a significant change in the singer songwriters musical output, spawning the singles ‘Poetry Of The Deed’, ‘Try This At Home’ and ‘The Road’. The video for ‘The Road’ saw Frank play 24 shows in 24 hours.. The successes of the third album included further Radio 1 daytime playlists, sessions with Zane Lowe and headlining a sold out show at London’s Shepherd’s Bush Empire and a few months later, The Roundhouse, London, setting him firmly on the course we see him on today, as a headline act the world over. Produced by Grammy nominated Alex Newport.

Following on from the release of their highly-praised 2020 LP ‘Darkness Brings Wonders Home’, which was applauded by the likes of Mojo, Clash Magazine, Q and many more, alt-folk duo Smoke Fairies return once again to announce the details behind their sixth studio album ‘Carried In Sound’, previewed by the wondrous new single “Vanishing Line”.

Continuing to pursue more of that warm and ethereal aesthetic the pair have cultivated since their earliest beginnings, “Vanishing Line” makes for a wonderfully warm and emotive introduction to their next full-length release. Accompanied by a cinematic video, the new offering tackles the difficult and intimate feelings loss and grief can have on a person and those around them.

A sense of inner strength dominates the new record. In keeping with the times that bore it, ‘Carried In Sound’ isn’t afraid to discuss darkness – but everywhere there is a longing for light. “Although the album has themes of sadness on there, it’s looking at those things from a place of strength,” says Jessica.

"This is the time that we, who have benefitted from the Last Poets shouldbe able to say, 'it's the Last Poets. It's them we should be honouring, because we did not honour them for so many years_"

KRS One wasn't just addressing the hip hop fraternity when he uttered
those words by way of introducing the video for Invocation - a poem
written thirty years ago, around the time of the Last Poets' last significant comeback. He was speaking to everyone who's been affected by the word, sound and power issuing from the most revolutionary poetry ever witnessed, and that the Last Poets had introduced to the world outside of Harlem at the dawn of the seventies.

In 2018 the two remaining Last Poets, Abiodun Oyewole and Umar Bin
Hassan, embarked on another memorable return with an album -
Understand What Black Is - that earned favourable comparison with theirseminal works of the past, whilst showcasing their undimmed passion andlyrical brilliance in an entirely new setting - that of reggae music. Trackslike Rain Of Terror ("America is a terrorist") and How Many Bullets demonstrated that they'd lost none of their fire or anger, and their essential raison d'etre remained the same.

"The Last Poets' mission was to pull the people out of the rubble o f their lives," wrote their biographer Kim Green. "They knew, deep down that poetry could save the people - that if black people could see and hear themselves and their struggles through the spoken word, they would be moved to change."

Several years later and the follow-up is now with us. The project started when Tony Allen, the Nigerian master drummer whose unique polyrhythms had driven much of Fela Kuti's best work, dropped by Prince Fatty's Brighton studio and laid down a selection of drum patterns to die for. That was back in 2019, but then the pandemic struck. Once it had passed, the label booked a studio in Brooklyn, where the two Poets voiced four tracks apiece and breathed fresh energy, fire and outrage into some of the most enduring landmarks of their career. Abiodun, who was one of the original Last Poets who'd gathered in East Harlem's Mount Morris Park to celebrate Malcolm X's birthday in May 1968, chose four poems that first appeared on the group's 1970 debut album, called simply The Last Poets. He'd written When The Revolution Comes aged twenty, whilst living in Jamaica, Queens. "We were getting ready for a revolution," he told Green. "There wasn't any question about whether there was going to be one or not. The truth was many of us still saw ourselves as "niggers" and slaves. This was a mindset that had to change if there was ever to be Black Power." He and writer Amiri Baraka were deep in conversation one day when Baraka became distracted by a pretty girl walking by. "You're a gash man," Abiodun told him. The poem inspired by that incident, Gash Man, is revisited on the new album, and exposes the heartless nature of sexual acts shorn of intimacy or affection. "Instead of the vagina being the entrance to heaven," he says, "it too often becomes a gash, an injury, a wound_" Two Little Boys meanwhile, was inspired after seeing two young boys aged around 11 or 12 "stuffing chicken and cornbread down their tasteless mouths, trying to revive shrinking lungs and a wasted mind." They'd walked into Sylvia's soul food restaurant in Harlem, ordered big meals, then bolted them down and run out the door. No one chased after them, knowing that they probably hadn't eaten in days. Fifty years later and children are still going hungry in major cities across America and elsewhere. Abiodun's poem hasn't lost any relevance at all, and neither has New York, New York, The Big Apple. "Although this was written in 1968, New York hasn't changed a bit," he admits, except "today, people just mistake her sickness for fashion." Umar is originally from Akron, Ohio, but had arrived in Harlem in early 1969 after seeing Abiodun and the other Last Poets at a Black Arts Festival in Cleveland. That's where he first witnessed what Amiri Baraka once called "the rhythmic animation of word, poem, image as word- music" - a creative force that redefined the concept of performance poetry and stripped it bare until it became a howl of rage, hurt and anger, saved from destruction by mockery and love for humanity. When Umar's father, who was a musician, was jailed for armed robbery he took to the streets from an early age where he shined shoes and raised whatever money he could to help feed his eight brothers and sisters. By the time he saw the Last Poets he'd joined the Black United Front and was ready to join the struggle. Once in Harlem, Abiodun asked him what he'd learnt in the few weeks since he'd got there. "Niggers are scared of revolution," Umar replied. "Write it down" urged Abiodun. That poem still gives off searing heat more than fifty years later. In Umar's own words, "it became a prayer, a call to arms, a spiritual pond to bathe and cleanse in because niggers are not just vile and disgusting and shiftless. Niggers are human beings lost in someone else's system of values and morals." And there you have it. It's not just race or religion that hold us back, but an economic system that keeps millions in poverty and living in fear - a system born from political choice and that's now become so entrenched, so bloated on its own success that it's put mankind in mortal danger. It was many black people's acceptance of the status quo that inspired Just Because, which like Niggers Are Scared Of Revolution, was included on that seminal first album. Along with their revolutionary rhetoric, it was the Last Poets' use of the "n word" that proved so shocking, but it would be wrong to suggest that they reclaimed it, since it never belonged to black people in the first place. There's never any hiding place when it comes to the Last Poets. They use words like weapons, and that force all who listen to decide who they are and where they stand. Umar's two remaining tracks find him revisiting poems first unleashed on the Poets' second album This Is Madness! Abiodun had left for North Carolina by then where he became more deeply enmeshed in revolutionary activities and spent almost four years in jail for armed robbery after attempting to seize funds related to the Klu Klux Klan. Meanwhile, the 21 year old Umar was squatting in Brooklyn and had developed close ties with the Dar-ul Islam Movement. A longing for purity and time-honoured spiritual values underpins Related to What, whilst This Is Madness is a call for freedom "by any means necessary," and that paints a feverish landscape peopled by prominent black leaders but that quickly descends into chaos. "All my dreams have been turned into psychedelic nightmares," he wails, over a groove now powered by Tony Allen's ferocious drumming. Those sessions lasted just two days, and we can only imagine the atmosphere in that room as the hip hop godfathers exchanged the conga drums of Harlem for the explosive sounds of authentic Afrobeat. Once they'd finished, the recordings and momentum returned to Prince Fatty's studio, since relocated from Brighton to SE London. This was stage three of the project, and who better to fill out the rhythm tracks than two key musicians from Seun Anikulapo Kuti's band Egypt 80? Enter guitarist Akinola Adio Oyebola and bassist Kunle Justice, who upon hearing Allen's trademark grooves exclaimed, "oh, the Father_ we are home!" Such joy and enthusiasm resulted in the perfect fusion of Nigerian Afrobeat and revolutionary poetry, but the vision for the album wasn't yet complete. He wanted to create a new kind of soundscape - one that reunited the Poets with the progressive jazz movement they'd once shared with musicians like Sun Ra and Pharoah Sanders. It was at that point they recruited exciting jazz talents based in the UK like Joe Armon Jones from Mercury Prize winners Ezra Collective, also widely acclaimed producer/remixer and keyboard player Kaidi Tatham, who's been likened to Herbie Hancock, and British jazz legend Courtney Pine, whose genius on the saxophone and influence on the UK's now vibrant jazz scene is beyond question. The instrumental tracks on Africanism are in many ways as revelatory and exciting as the Last Poets' own. It's important to remember that the kaleidoscope of styles and influences we're presented with here aren't the result of sampling but were played "live" by musicians responding to sounds made by other musicians. That's where the magic comes from, aided by Prince Fatty's peerless mixing which allows us to hear everything with such clarity. Music fans today have grown accustomed to listening to all kinds of different genres. Their tastes have never been so broad or all- encompassing, and so the music on this new Last Poets' album is as groundbreaking as their lyrics, and perfectly suited to the era that we're now living in. John Masouri

Research Records teams up with organist and synthesist E. Bobby G. to release his sophomore album, Bobby Business. Once again, the album is primarily centered around the 1982 Kawai DX900, but it masterfully explores more genres than his debut, Giving You M.O.R.E.

Bobby Business was recorded in 2022 after E. Bobby G. received an eviction notice from his beloved sharehouse of 12 years. After moving out, he stored the organ at his workplace, Bakehouse Studios, where his boss let him use the space overnight to record until the early hours. The remainder of the album was recorded in his old studio space, NGBE.

The first track, "Ha-Ha," is as meditative as it is glittery, with floating sustained chords. "Big Boy" and "Disco Shift" bring back a slightly more polished E. Bobby G. sound—lo-fi library music with bright tones that will appeal to fans of proto-electronic icons like Brian Bennett. Tracks like "Lucky Strike" and "Tropical Dino Ride" are video game music dreams, featuring West Coast lead lines and strutting percussion. The second half of the album explores spaced-out '90s downtempo and dub elements, with a distinctive refinement that hides the fact it was created primarily using the Kawai DX900.

Bobby Business closes with "Lillian," a sonic dedication to the artist's Grandmother, with a more traditional song structure that hints at what Bobby has planned next.

"‘One of the most exciting composers alive.’ – Daily Telegraph

Nonesuch will release the original score for Ken Burns’s new two-part documentary, LEONARDO da VINCI, with new compositions by Caroline Shaw; the documentary airs on November 18 and 19 on PBS. The album features performances by the composer’s longtime collaborators Attacca Quartet, Sō Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score.

In celebration of LEONARDO da VINCI, New York City’s historic venue The Town Hall presents an evening of performances from Shaw’s score by Attacca Quartet, Sō Percussion, and Roomful of Teeth on October 29. The filmmakers will also preview excerpts from the four-hour film..

LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns’s first non-American subject. It also marks a significant change in the team’s filmmaking style, which includes using split screens with images, video, and sound from different periods to further contextualize Leonardo’s art and scientific explorations. LEONARDO da VINCI looks at how the artist influenced and inspired future generations, and it finds in his soaring imagination and profound intellect the foundation for a conversation we are still having today: what is our relationship with nature and what does it mean to be human?

“No single person can speak to our collective effort to understand the world and ourselves,” said Ken Burns. “But Leonardo had a unique genius for inquiry, aided by his extraordinary skills as an artist and scientist, that helps us better understand the natural world that we are part of and to appreciate more fully what it means to be alive and human.”

“To help give depth and dimension to Leonardo’s inner life, and to carry our viewers on his personal journey, we enlisted the composer Caroline Shaw,” McMahon says in the album’s liner note. “Caroline’s existing body of music—joyful, daring, at times transcendent, and wholly unique—seemed to speak directly to Leonardo, a seeking soul who, 500 years after his death, can come across as strikingly modern. A fully original score, we believed, would add crucial connective tissue to areas where the record of Leonardo’s life is thin and it’s possible to briefly lose his trail. The music Caroline created is dynamic, enthralling and filled with wonder.

“This soundtrack is a testament to the inspired efforts of Jennifer Dunnington, who marshaled it into being, the brilliant musicians and vocalists who, with the help of Alex Venguer, Neal Shaw, Colton Dodd and Tim Marchiafava, made it soar, and most of all Caroline Shaw, who might be Leonardo’s soulmate from across time,” he continues. “With her help, the Leonardo who emerges is no wizard shrouded in mystery, but a prideful, obsessive, at times lonely or flustered, occasionally ecstatic, and, in the end, content man who is in ways both modern and thoroughly of his time.”

“As we set out to explore Leonardo’s life, we realized that while he was very much a man of his time, he was also interested in something more universal,” said Sarah Burns. “Leonardo was uniquely focused on finding connections throughout nature, something that strikes us as very modern today, but which of course has a long history.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to three albums with Sō Percussion, Narrow Sea, Let the Soil Play Its Simple Part, and Rectangles and Circumstance, Nonesuch has released her two Grammy-winning albums Orange and Evergreen, both of which feature Attacca Quartet. “Two-Step” and “Ghost,” Shaw’s songs with Ringdown, her duo with Danni Lee Parpan, are available now on Nonesuch. Caroline Shaw is Wigmore Hall’s 2024-25 Composer in Residence."

Video Age follow up their newest album `Away From The Castle' with a new 7" release. Side A, "Record Shop," a sparkling pop/rock cut is a playful theme song for record shop employees, the track follows a fictional record store clerk through a typical day in the life of slinging records. Alluding to classic 70s songs from acts like Don McLean, America, and NRBQ, Video Age are right at home in the pantheon of great American songwriters. Side B is a reworked version of the recent LP's title track called "Out In The Country." The track features Alt-Country/Americana singer Esther Rose, dueting with Video Age's Ross Farbe on this stripped-back acoustic swooner.

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7". Video Age make breezy and timeless songs that are so ineable, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

Born in Recife, Brazil, and currently residing in Lisbon, Sam Nóbrega is a singer-songwriter, multi-instrumentalist, arranger, and producer.Influenced by the Brazilian melodies his parents sang and listened to at home and on the radio, and driven by his love for Brazilian folk songs, street culture, and genres and movements like samba funk, forró, Ijexá, Manguebeat, and Bossa Nova, Sam embarked on a journey of musical self-discovery. In 2017, he took the stage with his first shows presenting his original music, performing at the Misturada festival in Florianópolis, southern Brazil, and at renowned venues in his hometown. However, it was in 2019 that Sam Nóbrega unveiled his debut single, "A Vida Vai e Volta," showcasing his instrumental prowess in a live video on top of a building. Subsequent releases like "Ruas Desertas," an independent release during the pandemic, demonstrated Sam's versatility.

His debut album "Ponta de Dois Lados," produced by Sam and Pedro Diniz, is slated for release by the British label Freestyle Records late November 2024. It is a rich sonic tapestry of Brazilian culture, blending traditional and popular elements with an indie and contemporary touch, creating an intriguing fusion of old and new sounds. Influences from João Donato, Marcos Valle, Milton Nascimento, Jorge Ben, Gilberto Gil, Novos Baianos, to the Manguebeat, Tropicalismo, and Vanguarda Paulista movements.

Through emotive ambient textures, granular synths, and field recordings, rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation.

A release show is scheduled in De Minard (Ghent, Belgium) on November 13.



Electroacoustic composer claire rousay (US) has announced her upcoming album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.



Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.



The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.



‘The Bloody Lady’ is set to be released on November 8 via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene.



The record comes with an extensive booklet including liner notes.

Psych-rock band Longheads are set to release their debut album, Layers of Wax, after recently signing with Stolen Body Records. This seven-track album delves deep into the realms of stoner and doom, all while retaining the signature psychedelic sound that fans have come to love from their first two EPs. Following the success of their acclaimed second EP, Mars Doesn’t Feel Like Home Anymore, Layers of Wax marks a significant evolution in the band's sound. Listeners can expect a more polished and mature sound that still captures the energy that propelled their previous EP to prominence within the London psych scene. The first single from the album, "Deathcap Farmer Part Two," will be released alongside a psychedelic, space-faring music video. This track showcases the band's continued experimentation with a 9/4 time signature, a technique they began exploring on the title track of their previous EP, Mars Doesn’t Feel Like Home Anymore.

Military Genius (aka songwriter/producer Bryce Cloghesy) today announced his new album Scarred for Life will be released November 1st, 2024 via Unheard of Hope. The follow-up to his atmospheric 2020 debut Deep Web, Scarred for Life is a genre-flexing mix of bass-heavy R&B, spaced dub, and jazz that is newly grounded within a more traditional rock framework and centered on lyricism. Lead single “Darkest Hour”–out now alongside a self-directed video filmed near his new desert home in Joshua Tree, California–reflects a head first journey into the unknown. "’Darkest Hour’ encapsulates the feeling of being swept away by time, into an endless night,” says Cloghesy. “There is a certain melancholy in leaving the past behind, dwelling on simpler, antiquated ways of life as we are pushed forward. This message is poignant on a personal level–becoming a father has led me to contemplate my own childhood, witnessing a purity of emotion prior to self-awareness. This applies to a broader collective consciousness too, as the march of progress fundamentally alters our shared experience. It's all about embracing the journey, stepping beyond the point of no return, and facing the future."