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Leeds soul and funk label ATA Records are proud to announce the new single from The Sorcerers. Available on 7" vinyl and Digital Download from Friday 30th March, this single is a driving Ethiojazz track aimed squarely at the dancefloor, backed by the Yorkshire Film & Television's original recording of "The Anderson Spectrum" (Later re-recorded and re-named by The Sorcerers as "The Viking Of 5th Avenue")

Taking influences from Ethiopiques Ethiojazz as well as the soundtracks to the European horror films of the 60s and 70s, The Sorcerers seamlessly blend these disparate elements into one cohesive package. Based in ATA Records' home of Leeds, The Sorcerers are made up of the cream of the city's jazz and world scene. Forming the backbone of the ATA Records house band they incorporate bass clarinets, flutes, and vibraphone alongside bass, guitar organ and drums, providing Ellingtonian textures on top of a solid rhythmic foundation.

Initially inspired by the work of Ethiopian composer Mulatu Astatke, The Sorcerers have developed their sound from the foundations laid out on their debut LP "The Sorcerers"."In pursuit of Shai Hulud" eschews the atmospheric textures of their previous material, replacing them with driving percussion and propulsive bass. Organ and flute tear into the melody as temple blocks beat out an insistent rhythm throughout.

The B-Side ("The Anderson Spectrum") is the original track from The Yorkshire Film & Television Orchestra that The Sorcerers re-recorded and re-named "The Viking Of 5th Avenue" when they recorded it for their debut. Tremolo-fuzz guitar and heavy brass place the track firmly in the sonic realm of 1960s British Library Music, bringing to mind the work of John Barry and Portishead rather than Mulatu Astatke.

„Phyktoria“ is the first album of Stavros Tilkeridis aka Second Tension. Very few projects have managed to develop such an unmistakable signature sound as it is laid out on this album and the two previous EP’s on Persephonic Sirens. Hailing from Central Macedonia, Second Tension influences of Greek cultural and mythological heritage are obvious while the music acquires transcendence through relentless loops of maximal euphoria and hypnotism. Effortlessly Stavros conducts crispy noise experiments without ever sounding academic or nihilistic. Literally uncompromising.

L(oo)ping is a story that began with great trepidation and an initial polite refusal and may have never have been told. Even for Rone, who's used to making bold moves, the orchestra had always seemed a step too far.

'Motion' laid the groundwork for L(oo)ping, a journey in which Romain Allender (who worked The Grand Budapest Hotel by Wes Anderson and The Shape of Water by Guillermo del Toro amongst others) acted as a creative translator for Rone. Leafing through Rone's repertoire he selected the tracks that would better lend themselves for symphonic reinterpretations.

The eleven pieces chosen each mark a different stage in Rone's trajectory, from one of his first-ever productions, 'Bora', born in a studio flat in Paris in 2008 when he was still a student, all the way to the soundtrack composed for the 2022 short-film, 'Ghosts', written by Spike Jonze, directed and performed by (LA)HORDE. L(oo)ping isn't just an orchestral re-telling of Rone's work, however. New life has been breathed into the music through Allender's arrangements as well as Rone's own interaction with the Orchestre National de Lyon and conductor Dirk Brossé.

There's a rich dramaturgy to the music, but not once does the acoustic trample on the electronic nor vice-versa. Rather, L(oo)ping manages to achieve an elegant and playful tight-rope balance between both voices that keeps listeners hooked on suspense and surprise.

Since the release of Surprise Chef's 2022 album, Education & Recreation, they have been touring across the US, Europe, and Australia selling out shows and cementing themselves as a force to be reckoned with. Releasing three albums and a string of successful 7" singles since 2019, their output is nothing short of prolific and they show no signs of slowing down with the announcement of their new Friendship EP. Friendship is a six song 12" EP recorded during the Education & Recreation sessions that stands as "a humble monument to the most crucial principle of our band: that the love we share for one another is, at all times, the most important thing".

Surprise Chef holed up for a marathon of a recording session and laid down more tracks than would fit on an album. Here now, we dig in the vault from those sessions and share some absolute gems. The EP opens with "Rosemary Hemphill", a nod to David Axelrod that takes the listener through a myriad of musical changes and moods in proper cinematic soul fashion.

"Friendship Theme" is a bouncy and energetic number with an infectious and driving clavinet topline that is sure to move dancefloors around the globe. "Over The Moon" is pure mood music that puts Surprise Chef's restraint and tasteful use of space front and center while "Spiky Boi" is a frantic upbeat number drenched in percussion and keyboards.

SC have a heavy touring schedule for the rest of 2023 and will be finishing up the recording of their next album which is due out in 2024 in between runs. UK shows: May 29 Pink Room - Manchester, May 30 Village Underground – London. Also Available From Surprise Chef: Money Music 7", Education & Recreation LP / CD, Velodrome7”

A tale of two Indians recorded in Cologne, Stockholm & Berlin.
Anurag Choudhary & Pawas Gupta are Non Solo.
Friends from more than two decades, these gentlemen decided to bring together their knowledge of music at Anurag's apartment in Stockholm back in 2008. Anurag’s life journey took him to Stockholm,
Sweden and Pawas’ culminated in Berlin, Germany; both cities a cultural and a musical powerhouse in their own right. Anurag, a professionally trained Flautist (bamboo Flute or “Bansuri”) in the traditional Hindustani Classical Music and Pawas, someone who has been exploring the realms of electronic music since 1997 as a DJ and releasing records under different monikers since 2007 decided to bring in their forces on a gloomy Stockholm afternoon.

You may ask, why Non Solo? Well, for obvious reasons!
In traditional Indian classical music you are trained as a soloist, mastering a single instrument and each instrumentalist has a deep understanding of the common syntax and rules of engagement that produce some brilliant duets. Both Anurag and Pawas have been pursuing their solo music careers and mastering their craft. However, ‘Non solo’ brought these two (soloists) together to collaborate on something that has not been done before in this way so two soloists coming together and forming NON SOLO.
It all started over a “Fika” which translates to “ a concept, a state of mind, an attitude and an important part of Swedish culture. Many Swedes consider that it is almost essential to make time for fika every day.
It means making time for friends and colleagues to share a cup of coffee (or tea) and a little something to eat” in Anurag’s favourite Cafe, not to forget his exquisite palette for Coffee. After a short brainstorming on how to create something new and fresh without it being too cliched and with the help of impeccably roasted coffee beans that were freshly brewed, the men decided to jam it out to see where this goes.

The first attempt resulted in the second track on the record “Svar” which means “note or tone” which was a one take track. Motivated and excited, they both decided to continue working on this project.
A few months later Anurag visited Pawas' previous Studio in Cologne to record, where Sarang, Tandav and Bhoop were born. Even though the creation had happened, they felt it wasn't the right time to put
it out there just yet. However, time flew by and after almost 14 years of waiting, the men came back to what they had created and decided it was now the time to release it.
The title track “Sarang” is inspired by raga Brindavani Sarang, where Anurag infuses the romantic and mystical flavour of this raga with his flute and Pawas brings his deep repertoire of electronic grooves and
atmospheric sounds to create an intelligent track that touches the listeners.
Svara is inspired by raga Hansadhwani (translated ‘svan song’ or ‘sound of swan’) is an endearing melange of Indian classical and house music.
Tandav is a high energy track based on a variation of Sarang raga. With Pawas’ in-depth knowledge of both Indian classical percussion and electronic music….. This track combines multiple rhythmic layers
manifesting in one exhilarating track that is filled with polyrhythmic cadence and interludes.
Bhoop is melancholy and nostalgia infused into one melodious offering inspired by raga Boopali laid over a bed of organic drums and bass.

The Feel:
Svara is falling in love, the feeling you get when you are walking after that first wonderful date, smile on your face and so much anticipation and joy in the heart for all that excitement that is about to come.
Sarang is being in love, when you start to experience all those emotions you didn’t know even existed inside your heart. It is a complete journey.
Bhoop has a tinge of melancholy, longing and missing each other , while Taandav is coming back together after a long time away from each other. Re-discovering each other and re-experiencing all those
emotions at an even deeper level and celebrating the togetherness, be it in friendship or relationship.
Non solo is first in its kind to bring the melodious/musical depth inspired by the raga traditions to the exhilarating rhythmic world of deep house and electronica.
Available now in your favourite digital store and on limited edition Vinyl with an exquisite typographic artwork by Shantanu Suman in collaboration with Masala Movement's Manoj Kurian!

Marco Vella and Anth Wendt step up to International Feel with a five-track EP of Balearic-tinged bliss for their first collaborative release as Other Mother.

There’s definitely something in the air round the Adelaide Hills. Longtime friends Marco (aka Body Corp) and Anth (aka Oisima) finally got together in Anth’s studio after the pandemic and the result is Numero Uno an EP of laidback synth guitar and drum machine workouts mixing 303 riffs and sunsets for a supremely low-slung vibe.

After cruising around the Hills in the day the pair worked on tracks by night and their carefree days soaking up the sun shines through. Opening track About Time sets a steady pace with its lush delayed guitars slow-rising acid melody and hefty sub perfect for Sunday pub garden appreciation. A side closer Zwang! drops the tempo but brings the percussion into focus for another masterclass in tension and release with interwoven 303s and dub feedback.

Side B keeps the beach-side atmos flowing with guitar licks working around sumptuous synth chords for Anyway Music - a song that’s the ultimate soundtrack understated parts fitting together seamlessly in service to the feeling and belying the technique required. Lost In The Forest makes use of expansive ambient pads synth riffs and shakers to evoke a sense of wonder sunlight coming through the trees.

The EP concludes with Where’s The Fifty a dreamy piece of drum synth phrases and 303 interplay that perfectly characterizes Marco and Anth’s collaboration - two musicians and producers playing to serve the song. They write elements that combine for a harmonious whole greater than the sum of its parts. This is the underlying feel of Other Mother and Numero Uno - we’re all in this together - and by working collaboratively a brighter future might just be around the corner.

R.A.N.D. Muzik welcomes Perth’s, Ewan Jansen to the label for an EP of moody deep house.

Ibiza legend and all round well respected industry man Chris Coco is back with more of his seaside sounds. This time his Mediterranean magic is cast over 'La Guitarra' which as the title hints has Flamenco style acoustics with tropical house drums and heartfelt synths. There is a pair backed and delicious dub also, and then modern disco don Rune Lindbaek comes through with a mesmeric take that is laidback and lush in its design. Last of all is Daniel Braca with a Deep In Brooklyn remix thing brings some fine Latin house styles.

Emotive sweetness from the one they call Gratts, coming correct via those ever-reliable purveyors of all things house, WOLF Music. Two dream-state gems from the Belgian-born, Australia-based DJ and producer, complete with a signature, deep and delectable remix from one of Dublin’s finest exports Glenn Davis.

On the A, ‘Pretty Lights’ is a bittersweet saunter beachside, sun setting in the distance, bass striding beside as keys dance across the horizon. A melancholic narrative over a blissful groove, Brandon Markell Holmes’ heavenly vocals add an undeniable elegance to proceedings, combined with Leïto’s deft touch on the keys. Subtle house music with soul from a producer that’s been toiling away for nearly 25 years.

Flip it to find ‘Polaroids’, a late-night trip across the underground with Tee Amara leading the way. Her sublime vocals are laid over a bumping, piano-laden beat, bit-crushed synths and all. A track that keeps that distinct soulful thread, yet laces it with a club-ready dose of the good stuff.

Glenn Davis then rounds off the package laying down a remix of ‘Polaroids’ that hits in all the right spots. A deeper journey, that sees Davis reworking the drums, dousing it in ethereal pads and dreamy synthwork, elevating Amara’s vocals to stratospheric heights. One for the dancers and romancers.

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).

"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.

Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).

Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."

Wenn die Dämmerung auf das Land der tausend Seen fällt, werden die Schleier zwischen unserer Realität und der Anderswelt dünner im Zwielicht der Wälder und Sümpfe. In solchen Momente gelangen Geschichten wie "das Märchen, das es nie gab" in die Texte und Musik von TENHI. Auf ihrem sechsten Album "Valkama", was unter anderem so viel wie "Hafen" oder "Zuflucht" bedeutet, erzählen die Finnen von einer die ursprünglich als Märchen gedachten Reise aus einem brennenden, vom Krieg zerrissenen Dorf über dunkle Gewässer zu einer Insel der Toten. Auf dieser Insel, die in der finnischen Folklore Verisurma ("der Ort für diejenigen, die den Blut-Tod erlitten haben") genannt wird, wohnen diejenigen, die im Krieg starben oder mit einer Klinge getötet wurden. An den Ufern vergießen sie für immer ihr Blut. Doch in den zehn Jahren, in denen TENHI an dem Album arbeiteten, sickerte zunehmend die blutige Realität mit ihren aktuellen Schrecken und Kriegen in die Märchenwelt ein. Jahr für Jahr spürten die Musiker, wie ihre Geschichte immer wirklicher erschien. Schließlich war ein Pegelstand erreicht, an dem die Band beschloss, ihren Kurs zu ändern. Obwohl noch immer Anklänge an das ursprüngliche Werk hörbar und im Artwork auch sichtbar sind, fühlt sich das finale Album ruhiger, harmonischer und sogar heller an als die erste Fassung. Die Band hätte kaum einen passenderen Namen als TENHI wählen können. Das alte finnische Wort bezeichnet einen "Ältesten" oder "Schamanen". Während die Schamanen des finnischen Nordens unter anderem als Vermittler zwischen ihrer Gemeinschaft und der Geisterwelt dienten, sind TENHI musikalische Grenzgänger zwischen dunklem Folk und Folkrock, die sogar bis in die elektrifizierte Welt des Metal hinein wirken. Dies legt zwar einen Vergleich mit WARDRUNA und HEILUNG nahe, doch nur im spirituellen Sinne und nicht in Hinblick auf den Stil. TENHI wurden im Jahr 1996 von Gitarrist und Sänger Tyko Saarikko ins Leben gerufen. Ein paar Jahre später stieß Ilmari Issakainen zur Band. Gemeinsam bilden die beiden Musiker den kreativen Kern der Gruppe. Nach der Selbstveröffentlichung ihres Demos "Kertomuksia" (1997) und der MCD "Hallavedet" (1998) trafen die Finnen 1999 mit dem Debütalbum "Kauan" auf Anhieb einen Nerv. Ins neue Jahrtausend starteten TENHI dann mit einer weiteren MCD namens "Airut:ciwi" (2000). Es folgte eine Reihe von Alben, die von "Väre" (2002) über "Maaäet" (2006) und "Airut:aamujen" (2006) bis zu "Saivo" (2011) reichte. Mit jedem neuen Album vergrößerten die Finnen ihre treue Fangemeinde, die aus diversen musikalischen Richtungen kommt. TENHI verbanden von Anfang an akustische Instrumente und traditionelle Töne mit Strukturen aus der zeitgenössischen Rockmusik. Während das Vorgängeralbum "Saivo" zuletzt verstärkt in Richtung Ambient und Panorama-Soundtrack tendierte, kehrt "Valkama" zu Songstrukturen zurück - wenn auch oft mäandernd und im epischen Format. "Valkama" kommt mit den typisch finnischen Gefühlen der Sehnsucht und anhaltender Melancholie daher. Doch trotz der hörbaren Dunkelheit bieten TENHI ein musikalisches Antidot für die Schrecken der modernen Welt an. Im Zwielicht der Welt des Nordens ist "Valkama" der Silberstreif am Horizont, der innere Geborgenheit und Frieden verspricht.

Gatefold 2LP (clear vinyl) with etching on side D, insert, padded inner sleeves and protection sleeve (300 copies)

Wenn die Dämmerung auf das Land der tausend Seen fällt, werden die Schleier zwischen unserer Realität und der Anderswelt dünner im Zwielicht der Wälder und Sümpfe. In solchen Momente gelangen Geschichten wie "das Märchen, das es nie gab" in die Texte und Musik von TENHI. Auf ihrem sechsten Album "Valkama", was unter anderem so viel wie "Hafen" oder "Zuflucht" bedeutet, erzählen die Finnen von einer die ursprünglich als Märchen gedachten Reise aus einem brennenden, vom Krieg zerrissenen Dorf über dunkle Gewässer zu einer Insel der Toten. Auf dieser Insel, die in der finnischen Folklore Verisurma ("der Ort für diejenigen, die den Blut-Tod erlitten haben") genannt wird, wohnen diejenigen, die im Krieg starben oder mit einer Klinge getötet wurden. An den Ufern vergießen sie für immer ihr Blut. Doch in den zehn Jahren, in denen TENHI an dem Album arbeiteten, sickerte zunehmend die blutige Realität mit ihren aktuellen Schrecken und Kriegen in die Märchenwelt ein. Jahr für Jahr spürten die Musiker, wie ihre Geschichte immer wirklicher erschien. Schließlich war ein Pegelstand erreicht, an dem die Band beschloss, ihren Kurs zu ändern. Obwohl noch immer Anklänge an das ursprüngliche Werk hörbar und im Artwork auch sichtbar sind, fühlt sich das finale Album ruhiger, harmonischer und sogar heller an als die erste Fassung. Die Band hätte kaum einen passenderen Namen als TENHI wählen können. Das alte finnische Wort bezeichnet einen "Ältesten" oder "Schamanen". Während die Schamanen des finnischen Nordens unter anderem als Vermittler zwischen ihrer Gemeinschaft und der Geisterwelt dienten, sind TENHI musikalische Grenzgänger zwischen dunklem Folk und Folkrock, die sogar bis in die elektrifizierte Welt des Metal hinein wirken. Dies legt zwar einen Vergleich mit WARDRUNA und HEILUNG nahe, doch nur im spirituellen Sinne und nicht in Hinblick auf den Stil. TENHI wurden im Jahr 1996 von Gitarrist und Sänger Tyko Saarikko ins Leben gerufen. Ein paar Jahre später stieß Ilmari Issakainen zur Band. Gemeinsam bilden die beiden Musiker den kreativen Kern der Gruppe. Nach der Selbstveröffentlichung ihres Demos "Kertomuksia" (1997) und der MCD "Hallavedet" (1998) trafen die Finnen 1999 mit dem Debütalbum "Kauan" auf Anhieb einen Nerv. Ins neue Jahrtausend starteten TENHI dann mit einer weiteren MCD namens "Airut:ciwi" (2000). Es folgte eine Reihe von Alben, die von "Väre" (2002) über "Maaäet" (2006) und "Airut:aamujen" (2006) bis zu "Saivo" (2011) reichte. Mit jedem neuen Album vergrößerten die Finnen ihre treue Fangemeinde, die aus diversen musikalischen Richtungen kommt. TENHI verbanden von Anfang an akustische Instrumente und traditionelle Töne mit Strukturen aus der zeitgenössischen Rockmusik. Während das Vorgängeralbum "Saivo" zuletzt verstärkt in Richtung Ambient und Panorama-Soundtrack tendierte, kehrt "Valkama" zu Songstrukturen zurück - wenn auch oft mäandernd und im epischen Format. "Valkama" kommt mit den typisch finnischen Gefühlen der Sehnsucht und anhaltender Melancholie daher. Doch trotz der hörbaren Dunkelheit bieten TENHI ein musikalisches Antidot für die Schrecken der modernen Welt an. Im Zwielicht der Welt des Nordens ist "Valkama" der Silberstreif am Horizont, der innere Geborgenheit und Frieden verspricht.

Gatefold 2LP (clear vinyl) with etching on side D, insert, padded inner sleeves and protection sleeve (300 copies)

Avishag Cohen Rodrigues is an artist and musician based in New York. She broke out to the Tel-Aviv underground scene at age 18 with the guitar drum duo Laila. Since then she has been playing electric guitar with Ryskinder, Sloppy Jane, Cumgirl8. She has a forthcoming solo project where she plays too many of the instruments. She is currently an MFA candidate at Columbia University in the Sound Art Department.

In 2019 she released her first EP “One Winter One Hunter” with Baby Satan Records (Berlin). She has opened for major acts such as Dirty Beaches, Better Oblivion Community Center, Mac DeMarco, Psychic Ills, Deerhoof, Cloud Nothing, Night Beats, Wire, The Shivers.

Ein Album zur Feier von James’ 40-jährigem Jubiläum. ”Be Opened By The Wonderful” ist ein Album mit 20 Titeln (19 auf Vinyl) mit einigen ihrer beliebtesten Songs, die mit einem 22-köpfigen Orchester und
einem 8-köpfigen Chor neu interpretiert wurden.

Deejay Jah Thomas was one of the creative figures making a dramatic impact on the Kingston sound system scene of the late 1970s and early 80s, the rhythms he laid at Channel One studio with the Roots Radics helping to steer reggae towards the emerging dancehall style. Voicing and mixing his work at King Tubby’s studio, typically with the young upstart engineer known as Scientist, Thomas was another champion in the realm of dub, his re-makes of vintage Studio One and Treasure Isle rhythms part of the process. In A Dub Explosion is a thrilling comp of tough dubs, mixed by Scientist & the King. A great listening experience!

Svart Records are ecstatic to present the first ever vinyl edition of the Mad Juana debut album Skin Of My Teeth. Limited to 500 copies and including a bonus CD with 5 home demos. Mad Juana were Sam Yaffa (Hanoi Rocks) and Karmen Guy, and Skin Of My Teeth will see the light of day for the first time since 1997. After the years spent as the bassist for Hanoi Rocks and Demolition 23, Yaffa began to search for new musical enthusiasm by exploring a wide range of different genres of music, while learning to play numerous new instruments. Mad Juana allowed him to step outside his comfort zone and redefine himself as a musician. “Re-mastered, the record will get a new life in the spring of 2023. The album that was created 27 years ago is still one of my favorite records. Written and created with my ex-wife Karmen Guy, the album is an inspired celebration of limitless musical joy, which combines rock'n'roll, punk, experimental music, a little bit of ethno and whatever came to our minds in the creative process" says Yaffa. Mad Juana's Skin of My Teeth was born in two countries and broke musical boundaries. “The album was first recorded at our home studio in the small Mallorcan village of Montuiri in Spain and finished at the late Hombre Laitinen's studio in Tikkurila, Finland. The album that also featured the percussion maestro, Affe Forsman was a turning point for me personally in creating music and my approach to it. All the rules and habits of making music learned previously were tossed aside, and a door to a new musical world was kicked wide open with a big boot", Yaffa describes the making of the album and continues excitedly, ”Re-mastered and with Svart's great album packaging, the album will hopefully reach the ears and eyes of those who might not have even known about its existence. I'm going to blast the vinyl to 11 as soon as I get my hands on it!".

"La Zarra is the enigmatic sensation that is representing France at the Eurovision Song Contest
The album “Traîtrise », now released on Vinyl The voice of La Zarra is theatre, a cabaret in full performance. Canadian-born singer-songwriter, La Zarra mixes genres, erases eras and outlines a new path where clichés implode and finally disappear. Influenced by Piaf, Barbara or Brel, she also finds her inspiration in Damso, PNL or SCH. while hip hop crosses into the songs. On her album ""Traîtrise"", human relationships are laid bare and it is often poignant, intense. Free woman, femme fatale, and future star. Format; LP"

Bound To Rise is the quietly impressive debut album from Yorkshireman Chris Brain. His songs have a gentleness and ethereality, enhanced by his softly husky, smoky vocals coupled with delicate finger-picked guitar patterns based around his alternate tunings.

The self-composed songs draw on the pastoral and the traditional, heavily centred in natural imagery featuring both as itself and as allegory. A misty ambiguity, suggestions of layered meaning and hints of multiple interpretations permeate the lyrics. And darker moods throw long shadows across this landscape.

A pre-dawn longing for the sun in title track ‘Bound To Rise’ seems to obliquely evoke springtime, primitive beliefs and lifting mood. ‘Bird Count’ is another daybreak song hinting at other, more intimate, preoccupations, “calling out your name / never to be tame”.

‘Chance To See’ celebrates the emotional significance of a relationship, and it’s easy to interpret ‘Golden Eagle’ as its flipside partner, “but you can’t choose her, she chooses you” – or maybe it’s simply a song about birdwatching. ‘Flying On Time’ continues with rare sightings paired with impressions of human air travel and distance, “she’s due tonight / just for one night / to visit our skies”.

Non-specific doubt and uncertainty edgily patrol ‘If I Could’, whilst the cheerfully pattering guitar motif of ‘Peace And Quiet’ belies an inner melancholy, and ‘Rare Find’ charmingly bookends Mary Jane Walker’s plangent violin and Simeon Walker’s subtle piano.

‘Sunday Morn’ “lays the week to rest” amongst other things but, despite the laid-back vibe, all is not sunny and “melancholy calls to greet us once more”. Brain’s songs are intriguing shifts of light and shade, and the details improve with each listen.

Coming full circle thematically, the joyous simplicity of expression in ‘Sun Song’ makes it close kin to the mighty Bright Phoebus, “the sun was born and she’s beautiful / the sun was born from the ground”. It’s an optimistic ending to an emotionally ambiguous album.

Influenced by, among others, Nick Drake, John Martyn and Joni Mitchell, it’s not hard to see where Chris Brain is coming from. More interesting is where he’s going to. Bound To Rise makes a very promising start.