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Bartees Strange begann die Arbeit an "Horror" in seinem Homestudio. Eine Session mit Yves und Lawrence Rothman (Yves Tumor, Lady Gaga) lieferte das rhythmische und klangliche Rückgrat für große Teile des Albums. Nachdem Bartees Strange Jack Antonoff (Taylor Swift, Lana Del Rey...) kennengelernt hatte und die beiden schnell Freunde wurden, arbeitete Strange an Material für Antonoffs Band Bleachers und Antonoff an "Horror". Die beiden beendeten die Arbeit am Album gemeinsam, indem sie die Songs roh bearbeiteten, editierten, arrangierten und sie in Kleidung kleideten, die Angst einflößt. Während des gesamten Albums legt Strange eine schwierige Wahrheit nach der anderen ab. Auf den 12 neuen Tracks des Albums finden sich genreübergreifende Fäden der Musik, die sein Vater ihm nahegebracht hat - Parliament Funkadelic, Fleetwood Mac, Teddy Pendergrass und Neil Young - die mit Stranges Interesse an Hip-Hop, Country, Indie-Rock und House verschmelzen. Seit dem Release seines 4AD-Debüts "Farm to Table" (2022) spielte Bartees Strange neben eigenen Headline-Touren (und einem Auftritt beim letztjährigen Reeperbahn Festival) im Vorprogramm von Acts wie boygenius, Clairo, Dijon und The National. Während eine Tour zum neuen Album noch angekündigt werden wird, gibt es schon eine Reihe von Release-Shows in 2025 in New York, Los Angeles, Washington D.C. und London. Geboren in Ipswich, England, als Sohn eines Militärvaters und einer Opernsängerin, verlebte Bartees Strange eine Kindheit, die geprägt war von diversen Umzügen bevor er sich schließlich in Mustang, Oklahoma, niederließ. Später spielte Bartees Strange in Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und der Bewegung für Umweltschutz arbeitete. In letzter Zeit wurde seine Musik auf mehreren populären TV- und Film-Soundtracks verwendet, darunter bei The New Look von Apple TV und I Saw The TV Glow von A24-Studio.

Universe Room is the eighteenth Guided By Voices album in ten years and packs a vast mix of energy levels and sounds into seventeen diverse tracks in less than forty minutes. The new record ventures into truly surprising territory, where barely any song segments and choruses are revisited and fidelity daringly shifts between lo-fi and hi-fi.

“I wanted to create, hopefully, an experience, kind of a wild ride, where the listener would want to hear it multiple times in order to grasp all the sections and fields of sound to discover something new with each listen,” says Robert Pollard. “I trimmed down the songs so that there wasn’t a lot of repetition, so you get a lot of sections that happen only once or twice.”

Universe Room embodies a realm of new horizons for Guided By Voices, who continue to redefine and expand as they blast off to unpredictable worlds.

Universally hailed as the King of the Blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the second half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice -capable of wringing every nuance from any lyric- provided a worthy match for his passionate playing. In The Many Faces of B.B. King we will review many of his most celebrated collaborations including Stevie Ray Vaughan, Etta James, Chaka Khan and Pat Metheny, enjoy plenty of his hits that spanned a six-decade career and finally, enjoy a list of who’s who in The Blues Hall of Fame with names such as Howlin’ Wolf, Elmore James, Slim Harpo y Muddy Waters. The Many Faces Of B.B. King is a fantastic album that showcases the work of one of the most celebrated musicians from our time.
Also, remember that it is not available on any streaming platforms.

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Hailed by Galore Magazine as "A Queer Icon", 80's inspired popstar Caroline Kingsbury releases her latest EP "I Really Don't Care!" on pink 10" vinyl. "I Really Don't Care!" was produced by Charlie Brand (Minature Tigers), and features the song "Take My Phone Away" co-written with Justin Tranter.

Kingsbury has been featured in influential playlists such as Spotify's Fierce Femmes, Fresh Finds, and Apple Music's Alt Pop, and New Music Daily. She's toured the US multiple times over supporting artists like Alex Lahey, St Lucia, Arlie, and has garnered praise from Pitchfork, the New Yorker, Gay Times, Rolling Stone, and many more."

Dogman is the fifth studio album by American rock band King’s X, released in 1994. The album was produced by Brendan O’Brien (who had recently worked with Pearl Jam, Stone Temple Pilots and The Black Crowes). Dogman was considerably heavier than previous albums and marked a transition in the band’s sound. In 1999, Doug Pinnick reflected, “For me personally, the Dogman record is what King’s X really sounds like. The self-titled record was a step and an eye-opener and after that we could just make our music.”

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

South-London, British-Bengali musician Tara Lily shares her debut album 'Speak In The Dark'. The LP is about "speaking your truth" and combines alternative R&B, jazz, electronica and traditional Indian sounds into a unique fusion. The record, produced by Dom Valentino, features American jazz trumpeter Theo Croker, UK rapper Surya Sen, and Archy Marshall (aka King Krule) on guitar.

Growing up in Peckham as part of a British Bengali family has given Tara Lily a unique perspective on music and global culture. She has spent her life absorbing a multitude of sounds and genres from her surroundings, ranging from electronica to jazz and RnB to traditional Bengali folk music. From training at the Trinity Laban Conservatoire of Music (where she studied jazz piano and voice) to learning Indian classical music and being the first act signed to Motown Records UK. Tara is a musical anomaly.

Debut album from South-London, British-Bengali musician and rising star Tara Lily, featuring American trumpeter Theo Croker & UK rapper Surya Sen
LP produced by Dom Valentino with additional contributions from Bad Sounds, Jaz Lee, Archy Marshall, Chiranjeeb Chakraborty, Akash Parekar, Mei Kerby, Ian Stratford
European Tour supporting JP Cooper (1st week of October, 2024)
UK Tour w/ Juabi - Manchester, Barbican (London) - Sept 2024
Artwork by Jay Vaz (Dreaming Vinyl)
"No Way Out" video shot in association with The North Face in the Himalayas, Nepal. Directed by Siddanth Ghosh
Press support - The Guardian, Evening Standard - "One to watch", Wonderland, ID, Notion, Clash
Radio support - 'Double Time' was track of the week on BBC Radio 1, other spots plays - BBC 6Music, Jazz FM (playlisting), BBC Asian Network, NTS
Recipient of the FAC x Amazon Music - Step Up Fund
Tours - UK, India (Echos Of Earth / Vh1 Supersonic festival / Jazz
Weekender), Nepal, Bangkok, Hong Kong, EU
Festivals - Glastonbury (3 sets - BBC introducing - Televised / Leftfield B2B Billy Bragg / PRS), We Out Here, Shambala, Daytimer Dialled In, Wilderness, Cross The Tracks
Career highlights - SHAKTI JAZZ NTS show, joined King Krule on stage at Apollo Theatre and supported RAYE at the Royal Albert Hall, Jazz Cafe w/ Mahalia, playing live on TV on BBC2 (The Kia Oval)

‘Insides is a cracking album of shifting ambient moods, riding on the cusp of technology without forgetting emotive credence’ 9/10 FUTURE MUSIC
Originally released in 2009 Insides is Jon’s third solo album and will be made available from the 18th December 2020 on the Just Music label, following on from his first two Just Music albums, Opalescent and Contact Note. It paved the way for both Immunity (his hypnotic breakthrough solo album) and Diamond Mine (his collaboration with King Creosote) which attracted Mercury nominations and for his recently released fifth solo artist album, Singularity.
The epic Light Through The Veins from Insides, which bookends Coldplay’s Viva La Vida album, is always a crowd favourite and is played by Jon as one of the closing tracks at almost all of his venue and festival shows. Small Memory, also from Insides has been streamed almost 57 million times on Spotify alone where Jon has 355, 462 followers and nearly 2 million monthly listeners.
Cited by The New Yorker as “One of the most celebrated electronic musicians of his generation”, electronic artist, producer and composer Jon Hopkins has forged a reputation for music that marries the dance floor to the devotional, and for live performances that are visceral, generous and charged with a rapt, sensuous beauty.
Jon has remixed artists as diverse as Flume, David Lynch, Moderat, Disclosure, Four Tet, Wild Beasts and Purity Ring. Other projects include collaborations with Natasha Khan of Bat For Lashes and Bonobo, as well as productions for London Grammar and Coldplay. His film credits include his Ivor Novello nominated score for the indie sci-fi classic Monsters, The Lovely Bones (scored with Brian Eno and Leo Abrahams), How I Live Now, Uwantme2killhim? and Rob and Vanentyna in Scotland. He also scored the National Theatre Live production of Hamlet and his work has appeared in many films and adverts.
‘Lilting piano and strings give way to industrial glitch with a calculated force, shifting the mood from tranquillity to terror’ 7/10 CLASH
‘Hopkins is a conjurer, an illusionist, symbolically combining imagery and sounds that shouldn’t work together, creating new dimensions of listening’ KRUGER

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Born in Zary and currently based in Poznan, Julia Rover is a singer, songwriter, and DJ. She has been active on the music scene for several years. She has recorded several tracks, performed numerous concerts, and collaborated on productions with other artists. All this inevitably led to what has just happened-her debut EP.
"Co z Toba" ("What's happening with you?" ) is the first entirely new and original (no samples!;) release in the label's catalog, simultaneously inaugurating the series The Very Polish Originals.
This record tells a story on multiple levels. The lyrics reflect tales of relationships. Of emotions. Of questions. Of dilemmas. Of disappointments. Of hopes. Of cold breakups and passionate reunions. The musical layer is also a kind of storytelling, only expressed through different means. Each track musically corresponds with the lyrics, the singing style, and the interpretation.The music complements the lyrics, embedding them in a mood-appropriate "setting."
The EP opener "Co z Tob??" moves within the climate of coldwave basslines. After that comes "Sen" (Dream), veering into territories closer to '80s synth-pop. As it fades, we catch our "Oddech" (Breath) at a slower tempo reminiscent of italo or rather neo-italo styles. We remain 3-4 decades behind. However, this journey does not feel regressive. Instead, it's reinterpretative. Constantly immersed in the DNA of the label, which has been bringing the best of musical history to light for years. The fourth and final track on the record slows down almost into a dark, psychedelic, leftfield ballad, slowly floating towards the '90s. It carries.
And that's almost everything. But it's worth getting here. Because at the end, as a sort of postscript, the title track "Co z Tob??" reappears in a danceable version. So, as it began, so it ends. Just more acid-like.

Die schwedische Rock-Band Spiders präsentiert ihren neuen Longplayer 'Sharp Objects'! Wie bei ihren früheren Veröffentlichungen ist der Sound von Spiders tief im klassischen Rock'n'Roll verwurzelt. 'Sharp Objects' bietet jedoch etwas Neues, indem es Einflüsse aus der New-Wave- und Garage-Rock-Szene der frühen 80er Jahre einfließen lässt. Klingt wie Blondie, Dead Boys, The Hellacopters oder Bikini Kill.

Die schwedische Rock-Band Spiders präsentiert ihren neuen Longplayer 'Sharp Objects'! Wie bei ihren früheren Veröffentlichungen ist der Sound von Spiders tief im klassischen Rock'n'Roll verwurzelt. 'Sharp Objects' bietet jedoch etwas Neues, indem es Einflüsse aus der New-Wave- und Garage-Rock-Szene der frühen 80er Jahre einfließen lässt. Klingt wie Blondie, Dead Boys, The Hellacopters oder Bikini Kill.

The first-ever vinyl reissue of the classic 1986 debut album from perennial pop icon and pin-up Samantha Fox. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Touch Me features four hit singles: the international smash ‘Touch Me (I Want Your Body)’ (#3 UK and #4 US), ‘Do Ya Do Ya (Wanna Please Me)’ (#10 UK), ‘Hold On Tight’ and ‘I’m All You Need’. Immediately establishing Samantha’s signature pop-rock sound, on its original release the album hit #17 in the UK, going silver, before reaching #24 in the US with a gold certification. Pressed on striking black vinyl with white and pink splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics. A strictly limited-edition picture disc is also available. Touch Me is reissued alongside Samantha’s self-titled second album and 1989’s I Wanna Have Some Fun.

Tesfa Williams celebrates his personal ancestry and the diversity of black electronic music with a name change on his Heist Recordings debut.

First things first. T. Williams is now Tesfa Williams. And although the dot is gone after the T, by taking that away, the artist openend up a whole world of meaning, personal storytelling and recognition of his roots.

“Originally when I started "T.Williams" it felt like my African first name Tesfa wouldn't be welcomed in the scene. Something I've experienced in general from school, college, work etc….. I grew up in a Rastafarian family with Carribean heritage and my parents decided to give me and my siblings African names to connect us to our African ancestry. I now feel like I’m ready to embrace this part of me as an artist and share it with the world.”

Tesfa Williams is an artist with a long history in UK club music. Long before his critically acclaimed debut album in 2024 ‘Raves of future past’, he was knee-deep in the UK grime scene and throughout the years, he has built a strong reputation in UK funky, soulful house and Garage with remixes of Latch for Disclosure and Sam Smith (yes, that track), bumping originals on Strictly Rhythm, Local Action with Julio Bashmore, and much more. On his debut for Heist, we see the artist dig deep into his black roots and deliver an EP that celebrates his eclectic sound with 4 originals full of high notes.

The ’Beyond today’ EP kicks off with ‘Moments Ahead’, a classic filter-house jam with lovely soulful chops and the perfect amount of grit. It’s the type of funky, peak-time house track that will ignite any dancefloor with its irresistible groove. ‘Get it together’ sees the artists layer some classic R&B vocals over an infectious warehouse groove. It’s the kind of track that’ll grab anyone’s attention on a first listen. The breakbeat loop in the background gives the percussion its dry immediacy and the sparse melodic hits and irresistible vocal chops turn this track into an absolute dancefloor monster.

On the flip, the London producer merges his love for soulful house with contemporary electronics on ‘Brighter life’. There’s something deliciously breezy about this song, where the vocals, chord hits, sweeps, and hits deliver a groove that’s laidback and powerful at the same time. The electronic parts of this track are cleverly laid out to contrast the syrupy sweet vocal and underline the class of the artist’s ability to effortlessly blend genres.

The EP closes with ‘Futures’, a bottom-heavy late-night burner much in the style of Dam Swindle’s 2023 Heist outing ‘Soul’s lament’ or the percussive goodness of Alma Negra tracks such as ‘Conversation’. There’s a nice blend of trippy electronics and driving Rhodes hits, which makes this a track perfect for those moments you simply want to go deep, heads-down, and feel the music.

With ‘Beyond Today’, Tesfa Williams has written a piece of music that pays homage to so many of the genres that have influenced him as well as to his black roots. ‘Beyond Today’ is a contemporary club record that oozes positive energy just the way we like it and we can’t wait to play this one out to all of you.

Enjoy the music and get ready to dance!

Lars & Maarten