Buscar:ir

Warped and dragged through the murky underbelly of the Levantine underground comes 'Volume 1' the x-rated left-field debut from the pseudonymous DJ GAWAD.

Via pitched up vocals dripping with delay, DJ GAWAD takes us on a tour of the region's most urgent artists, his interjections oscillating between cocky boast and frustrated lament.

Through this new persona, DJ GAWAD pulls back the curtain to reveal himself as the protagonist of the mixtape-like album, as replete with features as it is with expletives, an enigmatic ghoul in the back of the studio with an endless supply of broken sample flips, giving the album its old school feel while still speaking to contemporary hip hop aesthetics.

A Jordanian/Palestinian Memphis gangster rap parody par excellence, the album is infused with satirical commentary on the state of the contemporary music scene, yet DJ GAWAD shows as much as he tells, expertly fashioning a sound that makes you wonder about the identity of the artist behind the braggadocious persona of the self-titled "best producer in the Middle East."

Drawing heavily from the Memphis rap mixtapes of the mid 1990s, DJ GAWAD has clearly identified the same brooding atmosphere in his own surroundings. On Mat3'anish (feat. Bleng & Fara7) DJ GAWAD makes his most explicit reference to the Memphis sound, twisting the hallmark cowbells that defined that movement to reflect the equally raw nature of his own setting.

Similarly, in Bandana (feat. Jurum), DJ GAWAD finds the perfect tension between his romantic sampling tendencies and the brutal sensibilities of his featured artist. As if liberated by DJ GAWAD's anonymity and irreverence, his menagerie of artists appear to have been emboldened, embracing the obscene free naturedness of the album, setting their lyrical prowess free to wander.

No expense was spared in the post production treatment of DJ GAWAD's debut, with Iraqi-American artist Mark Gergis incorporating the Nakamichi Dragon cassette deck in the mastering process, as is evidenced by the crisp saturation of the album's sonics.

Long-running NYC hard rockers Mirror Queen offer a heady mix of psych, prog and NWOBHMisms with
the release of their fifth full-length, Dying Days. Influences such as Blue Öyster Cult, UFO, Camel,
Wishbone Ash and Iron Maiden soar amidst their singular mix of insistent guitars and melodic vocals.
The intent is to blast the audience by including songs with volume and adding hooks to the timeless riffs.

After a duo of floor-stomping releases, Rhythm by Nature is back for its third release with one of the most prolific producers in the game — Tommy Vicari Jnr. The Sheffield-based musician went from being an enigmatic figure to becoming a true example of musical discipline, boasting a seemingly endless musical output under several aliases. With "Francis Bacon Size Hangover EP," Vicari presents a diverse four-track EP that showcases his ability to traverse various soundscapes without ever losing grip on rhythm.

'Francis Bacon Size Hangover' (A1) opens the EP in pure Vicari style, plunging atmospheric dub-infused pads, delayed drums and competently edited vocal breaks on a cosmos of shifting sound signatures. The result is an infectious dance floor weapon drenched in mind-boggling groove with funky, light-hearted undertones. 'B Doll' (A2) goes a bit jazzier, delivering an analogue-driven, breakbeat-tinted track with intricate percussion and deep, resonant synth work. B1: "Newdays" finds Vicari immersing himself in the essence of house music, powerfully rooted in Chicago's disco and proto-house aesthetics: punchy drums and propulsive basslines keep the track in constant motion while atmospheric textures forge an irresistible soundscape of skillfully layered, ingeniously sampled sounds. Originally crafted in 2004, 'Vommer' (B2) closes the EP by showcasing Vicari's longstanding dedication to his craft — a slow-burning, minimalistic dub track that's as beautifully understated as it is gracefully spaced out.

"Francis Bacon Size Hangover EP" is a testament to Tommy Vicari Jnr's enduring influence in the electronic music scene and proof that Rhythm by Nature is perfectly capable of continuing to build momentum.

After a brief hiatus, Synapsis Records returns triumphantly with a captivating 12" release by Iranian artist Siamak Amidi, accompanied by reinterpretations from hm505. Synapsis-019, titled "Crack A Love Ball," showcases two original tracks from Amidi on the A side, while the B side features two mesmerizing reinterpretations by hm505.

Amidi's compositions, "Crack A Love Ball" and "Mess with You," are masterfully minimalistic and subtly intricate, filling the soundscape with rich percussion and immersive sound design. In contrast, hm505's reinterpretations infuse the tracks with lush melodies and harmonies, prominently featuring arpeggiations that evoke deep emotional responses from the listener.

Limited Edition of 1000 Opaque Light Blue 180 Gram Vinyl LP. Ghost on Ghost is Iron & Wine's fifth full length record and was originally released in 2013. The album found Sam Beam the bands principle member working once again with longtime associate Brian Deck (Modest Mouse, Califone). The record marks the last time the two would work together on a journey that began with the bands second record, Endless Numbered Days. It also marked a shift for the two from working in Chicago to setting up in New York City. The idea behind the move was to tap into the creative musical community New York had to offer. The line-up that helped bring Beam's vision for Ghost on Ghost to life included a who's who from the jazz community as well as the deep wells of outside art including Steve Bernstein (Sex Mob/Levon Helm Band), Rob Burger (Tin Hat Trio), Brian Blade, Curtis Fowlkes (The Jazz Passengers), Tony Garnier (Bob Dylan Band), Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr (The Lounge Lizards), Doug Wieselman, Kenny Wolleson (Tom Watis/John Zorn) and Anja Wood. The level of talent on Ghost on Ghost far surpassed anything Beam ever imagined when he first began writing songs as Iron and Wine on his four-track. Upon completing the Ghost on Ghost Beam jokingly referred to the recording process as "a reward to myself" after years of chasing sounds by himself. Being able have the finest in musicians in New York City perform on the record, elevating these songs into places he never imagined Beam stated, "it was an honor -- really inspiring." Beam stated at the time that Ghost on Ghost takes it's inspiration from records like Nilsson Schmilsson, Ram, Mingus Moves and What's Going On. The record they all crafted is warm and inviting and was like anything up to that point in the Iron & Wine catalog.

Limited Edition of 1000 Opaque Pink 180 Gram Vinyl LP. Kiss Each Other Clean, Iron & Wine's fourth full length record was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd's Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd's Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach. His lyrics sprung to life in ways initially unimaginable to early fans and critics helping each song tell its story and build to climaxes thru various sounds and editing techniques. However what remained at the core of KEOC, and what fans of the band had come to love, was the song writing and singing of principle songwriter Sam Beam. Beam's ability to invite you in with his hushed singing tone and knack for a melody remained front and center even in his drive to replicate something in the vein of Waits' Swordfishtormbones Principle recording for KEOC was at home in Dripping Springs, Texas where Beam resided at the time. After laying down the bulk of the record Beam moved recording to Chicago to work with Brian Deck. A cast of musicians helped Beam find his sound and see his vision for KEOC including Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger (Tin Hat Trio), Benny Massarella (Red Red Meat/Califone), Chad Taylor (Chicago Underground Duo) and Matt Lux (Isotope 217). With KEOC Beam and company brought in soft rock smoothness, dub reggae textures, and instruments that hadn't been featured on previous records. The vintage synths on 'Monkeys Uptown', the Stevie Wonder funk on 'Big Burned Hand,', the strum and drang of 'Walking Far From Home' all give the otherwise very organic-sounding arrangements a welcome cheesy kick. The record also produced the biggest radio single of the bands career with the vintage AM friendly vibes of 'Tree by the River.' It was an adventurous period in the career in Iron & Wine and one in which Beam was defying categorization.

Originally from Ireland, but now settled in the peaceful countryside of rural France, Kaz Hawkins is the epitome of musical mastery and versatility. With a soul as rich as the music that inspired her growing up in Belfast, Northern Ireland, and a voice that crosses genres with ease, Kaz stands out as a singer, songwriter and performer extraordinaire. Her musical odyssey began decades ago, shaped by a deep love of blues, soul, jazz and folk, which have become her artistic pillars.

Renowned for her spellbinding performances and heartfelt compositions, Kaz has charmed audiences the world over, weaving stories of resilience, love and the human experience through her melodies. A seasoned musician, Kaz's magnetic stage presence has graced countless venues, captivating audiences and leaving them eager for more. Her melodies transcend borders, resonating with diverse audiences and earning her a loyal fan base across continents. Beyond his musical talent, Kaz embodies authenticity, courageously sharing his past marked by domestic violence, depression, drugs and self-harm, inspiring others to find hope through his music and their own uniqueness.

In 2024 and 2025, Kaz is ready to captivate her audience once again with the release of two live albums, "Live in Brezoi (I)" and "Live in Brezoi (II)". These albums capture the raw energy and emotion of her performances, showcasing her unrivalled talent and the undeniable bond she shares with her audience. Another album, different from the blues, is also in the pipeline and is being
produced in Berlin for release in 2025. In addition, Kaz is embarking on exciting collaborations with other artists, infusing her soul essence into collaborative projects. The first is with French soul artist Thomas Kahn in a duet entitled "A Place Like Home", released on January 10, 2024. Other collaborations will be announced shortly.

As she moves forward, Kaz aims to amplify her presence on social networks, creating deeper bonds with her fans and forging a community united by the magic of her music. In a world where melodies paint emotions and lyrics engrave memories, Kaz Hawkins stands as a testament to the power of music, inviting you to embark on an unforgettable sonic journey.

The debut Creation Rebel album, originally released on pre-On-U Sound label Hitrun in 1978. The original band, featuring the drummer Eric "Fish" Clarke, had been a studio outfit known as the Arabs, now primarily remembered for their work with Prince Far I, including the classic dub set "Cry Tuff Dub Encounter Chapter 1". The rhythm tracks for this album had been laid in Jamaica but the overdubs were worked up at Gooseberry Studios in London. The experienced Dennis Bovell was the engineer, with the young Adrian Sherwood on his very first production assignment encouraging him to make it “madder” and add more and more effects.

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

The principles of pleasure radiate a knowing, carnal heat throughout the genre-fluid sound of LSDXOXO. His decade of dedication to the sensibility of underground club culture has brought forth club classics interwoven with pop music hooks and subversive, tongue-in-cheek lyrics.

After four years of what LSDXOXO, real name RJ Glasgow, calls a period of “healing and self-discovery,” he is consolidating his multiplicitous sound with one compelling masterstroke: the debut album DOGMA, to be released on his own imprint F.A.G. DOGMA marks a complete paradigmatic shift: it is a poetic and fantastical performance, a route for deep escapism through an expanded musical palette including piano and guitar, and a deeply personal confessional through a fresh approach to songcrafting.

Within DOGMA, RJ meditates on the interlinked qualities of fame, infamy, lust and submission, as he rediscovers a pure, unadulterated approach to music-making, all the while adopting a futurist approach to pop music appreciation. RJ’s unmistakable signatures—the smutty dancefloor caller, the maker of irresistible bangers, the latter-day electroclash and DnB nostalgist—take on even more shades and intricacies. Despite his widespread acclaim as a collaborator with and songwriter for other artists, RJ strips DOGMA down almost exclusively to himself, carving out intentional space as a chameleonic vocalist and performer. He breathes life into the album with private thoughts, external fears and a red thread through personal themes that crystallise the album’s narrative from front to back.

The album’s promo single “Bloodlust” offers angsty, intimate indie-tronica, and musings on the intoxicating nature of love and infatuation. The lead single “Ghost” reaches beyond RJ’s Philadelphia origins to find itself in the deep south, in a sultry fever dream of coquettish R&B featuring backing vocals from close collaborator Kelela. Elsewhere on the album futuristic love, pensive pop earworms, evocative vintage dance styles and sleazy club tracks intermingle. While the DOGMA era will eventually explore remixes and reworks, the album is RJ’s purest embrace of himself and his artistry.

RJ first garnered attention as LSDXOXO in New York City with his on-the-pulse Soundcloud edits and then as part of the cult GHE20GOTH1K collective. His DJ sets and productions quickly earned him acclaim across globally-linked underground scenes. His decision to shift from sampled vocals to picking up the pen and microphone pushed his reach out to the stratosphere; his association with XL Recordings via the Dedicated 2 Disrespect EP in 2021 was a turning point for the burgeoning superstar.

This multiplicity of the LSDXOXO sound has led to enviable co-signs. These include being selected as the opening DJ for Beyoncé’s German Renaissance tour dates, remixing Lady Gaga, Pink Pantheress and Shygirl and producing five tracks for Kelela's highly acclaimed 2023 album for Warp Records, Raven. His fully-realised live show has also taken to the stage, serving fierce charisma to huge audiences at festivals including Primavera, Nuits Sonores and Rewire.

The 20th Anniversary Edition of Beyond Good & Evil and its official soundtrack offer a refreshed yet faithful rendition of the game's original music. Utilizing a full orchestra, we preserved the unique, intimate feel of the compositions, often created through improvised sessions. The soundtrack includes new tracks, some recorded with unconventional instruments, celebrating the creativity that made the 2003 original and the franchise special.

“Beyond Good & Evil – 20th Anniversary Edition and its official soundtrack are a true labor of love that give a beautiful new sheen to the notes and melodies of the game, yet always staying true to the emotions that resonated with the fans back then. While we had the means to work with a full-fledged orchestra this time around, we made sure to keep the quirky, intimate feel of the compositions that were, more often than not, the results of improvised jams and family reunions around an iron anvil or a toy ukulele. This soundtrack is an ode to a sort of colorful, artisanal and unbridled creativity, completed here with new tracks (including parts recorded on a broken guitar with an unconventional tuning), and the perfect celebration of all the little things that made the 2003 original and this franchise so special.”

-Christophe Héral

Ever-evolving the mythologies and magic of Dialect's sonic sphere, Andrew PM Hunt returns with Atlas of Green, elegantly molding unexacting details of memory and mistranslation into the framework of the British musician and composer's creative pursuit. The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, Atlas of Green is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux. Growing up on the Wirral Peninsula in North West England, Hunt was surrounded by stone age landmarks and rock carvings that infused the landscape with legend. It was beside those carvings on a residency at Bidston Artistic Research Center where he began the journey of Atlas of Green, experimenting with tape loops and exploring the center's library of sci-fi. Here Hunt also encountered the work of Italian philosopher Federico Campagna, a writer who believes we're at the end of our current world. This encouraged Hunt's exploration of how the fabric and fantasies of our current era might endure into the future of Green, as they try to make sense of the riddles of the past, utilizing broken electronics and simple acoustic instruments to create new mythic forms. This question of endurance led Hunt to inscribe Atlas of Green with its own lucid markings - sometimes almost anthemic adornments - which unfurl through the album's melancholic air as possible new metaphors for how the human spirit might persist through dark days and regain lost wisdom. As Hunt reflects, "We're not just on an endless procession through constantly better worlds. Our lack of action (on climate and inequality) feels hopeless at times. I find some comfort in the idea that maybe the world needs a new song in order to tell a new story about itself". The image of Green as a journeying adolescent in-between eras developed out of a burgeoning interest in the fantasy writing of Ursula K. Le Guin and Gene Wolfe and occurred at a point in Hunt's life where the question of starting a family was looming. Green became a device for thinking about the future, or futures, putting someone in another world and granting access to a slightly longer timeframe than one's own life. What would this person, in this as-yet-unsung world do with something as powerful as music? As Hunt notes, "I imagined them doing what we've always done with music - using it to build a map of feeling, providing boundaries and tracing the edges of our emotions, defining a space of possibility and giving voice to our intuition. This is an alternative future to the one of endless growth but one which still holds space for hopes and dreams." Mapping new folds in the passage of time, Atlas of Green is traced with an aura of sonic urgency which arises through its process-led construction. Following a series of live shows in early 2023, the record was created with an assemblage of analogue electronics and acoustic instruments, including scratched records and a broken four track, collaging studio work with recorded live recordings featuring work in progress. Where the indeterminate energies of Under~Between (2021) appeared through digital processing, Atlas of Green embraces chance encounters within the malfunctions of physical media and glitching gear. Within these interwoven clusters of organic and blemished sound, Dialect reclaims the joyfulness of the inner amateur and creates a soft landing for new seeds of magical possibility - rooted in the bounds and abundance of realism. "As a planet of people we have to deal one way or another with our finite existence. We have to deal with that loss with hope still in our hearts - our capacity to love cannot be contingent on things lasting forever, and so this image of Green is not a vision of dystopia, nor utopia but an expression of trust and an acceptance of limits."

High Roller Records, reissue 2024, black vinyl, ltd 200, insert, poster, 425gsm heavy cardboard cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, black vinyl, ltd 200, insert, poster, 425gsm heavy cardboard cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Eternal champions! (power metal)
Ewige Meister!
(Power Metal)
Nach dem Erfolg des fulminanten Debütalbums "Emperor Rising" liefert "Return Of The Heralds" noch mehr schnelle, melodische Melodien, die im
Bereich des traditionellen Power-Speed-Metal leben und gedeihen.
Das neue Krilloan-Album ist einmal mehr eine herzliche Hommage an die "guten alten Zeiten" des klassischen Heavy Metal und der Sword &
Sorcery-Unterhaltung, die sie geprägt haben. Epische und grimmige Schlachthymnen über Conan den Barbaren, Elric von Melniboné, "Warhammer
40.000" und die nicht enden wollenden Tage in einer Welt jenseits unserer eigenen: das ist die konzeptionelle Grundlage der schwedischen Band um
Gitarrist Klas Holmgren, mit einem klaren Fokus auf ein ausgefeiltes und stets ausgewogenes Songwriting. Eines ist sicher: Langweilig wird es einem
beim Hören eines Krilloan-Albums nie!

Schwedens gefeierter Komponist, Produzent, DJ und Pianist Rasmus Faber stellt sein erstes Ambient/Neoklassik-Album vor: "Where Light Touches“ A NIMA Story" ist eine Audiointerpretation des hochgelobten Buches "NIMA" des Illustrators Ross Tran (RossDraws) aus L.A. Rasmus erschafft ein vollständig immersives Hörerlebnis im Atmos-Surround-Sound und malt atemberaubende Audiobilder mit zart-melodischen Farbtönen, voller atmosphärischer Gespräche zwischen gefühlvollen Klavieren, beruhigenden Streichern und anspruchsvoller elektronischer Musik, die anmutig durch dieses bezaubernde Werk fließen. Aufgenommen mit komplettem Orchester in Stockholm, wurden die Werke mit elektronischen Elementen aus Rasmus' reichhaltigem Erbe verschmolzen.

When the body starts screaming...SOFT VIOLET harnesses the pain with beats and rhythms, bass, synth and vocals, to manifest a rejuvenated writhing musical being that thumps and bumps. Downtrodden...upbeat! Upbeat!

Following multiple band projects, including the parallel powerhouse acts Spinnen and the ecstatic Turkish-Armenian-Friendship TAF, multi-instrumentalist SOFT VIOLET, now releases her solo debut album: Sterner Stuff. And that it is: Guttural with a pounding heart laid out on sexy stainless-steel surface, defiantly glinting.

Playful experimentation reigns free, fusing drum-machine and analogue synths with bass and vocals, to create a hybrid glittering creature that shines sublime.

SOFT VIOLET has a special power to tap in, making clearly conscious decisions to break and irritate, strutting through techno beats, poetically proclaiming personal and political urgency with a confidence, sincerity and sense of humour echoing the likes of Zheani and Sneaks or (thrillingly also) the 1990's heroes Cibo Matto.

SOFT VIOLET urges the listener to unite, to love and be loved and find ways, through music, of transforming pain into something joyous and uplifting, porous and free, as well as incessantly danceable.

SOFT VIOLET dares to go places that others do not, tapping into an honesty that others shy away from, welcoming everyone in to come play.

SOFT VIOLET is a fighter rising in solidarity. The beginning of the matriarchy is already in full effect. See You In The International Court Of Justice Bitch. Let's bounce!