quête:laurel

Fresh from releases on his own Polymath Records, as well as Natura Sonoris and Sodai, that have seen support from the likes of Maceo Plex, Bicep, and ANNA; UK producer Third Son debuts on Dusky's 17 Steps imprint with the 'Machine Love' EP.

The synth laden 4 tracker utilises electro, acid, techno and breakbeat influences to provide a rugged and bold reflection of the current clubbing landscape; one that is set to melt underground dance-floors this autumn.

'Machine Love's squelchy synths and gritty percussion build towards a chopped and skewed finale, that has proved a ferocious piece of club artillery in Dusky's sets this summer.

Next up is 'Bloodsport', a dance floor primed roller that consists of dusty breaks, squealing atmospherics and a meandering baseline. 'I Hear Laurel' follows, a cosmic alliance of ghostly vocals and hard hitting distorted synths that feels like meditative ode to rave music of the past. Closing the EP is 'Ambiturner', stacked with syncopated drums and twisting synths that scatter across the stereo stacks.

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

Mutant jungle forms, hazy glitch experiments and trance inducing downtempo collide with sharp percussion and dense low end on this latest Alter 12'. Helm's recent 'World In Action' EP for The Trilogy Tapes is reworked by a whole host of favourites including Laurel Halo and Parris who offer up two distinctly different takes on 'Blue Scene'. No Symbols boss Beneath turns his hand to title track 'World in Action' with that typically murky, deconstructed club aesthetic whilst Parisian mainstay Low Jack gets deep on the A2, his five and a half minute version of 'Candy' sounding like a cross between Nuno Canavarro and Whitehouse. Delivering what might well be the records most subdued moment, Brussels' Sky H1 slows 'After Dark' way way down with some barely there auto-tuned vocals helping to bring things into the fold.'

Norman Jay MBE presents his latest compilation, titled 'Good Times Skank & Boogie', set for release 9th October 2015 on Sunday Best Recordings. This is his first compilation since 2011's Good Times 30th Anniversary Addition and follows on from his hotly anticipated Good Times Goes East party at St John Church at Hackney on 29th August.
Norman Jay is undoubtedly one of the finest and highly respected DJs in the world today and yet again pulls from his impressive collection to provide the ultimate eclectic selection.
For this 12th compilation, for those of you counting, Norman kicks off with St Germain's version of Henry Mancini's Pink Panther Theme. A cult favourite from 2004s Pink Panther Penthouse Party album, it of course immediately brings Peter Sellers to mind and a smile to your face. Next up former Uniques front man Slim Smith's Everybody Needs Love is a classic from 1968, cut at the legendary Duke Reid's Treasure Isle studio. Penned originally by Motown heroes Norman Whitfield and Eddie Holland and covered by household names including The Temptations and Glady's Knight & The Pips, Slim's version became something of a signature tune until his mysterious death in 1971. Sticking with Motown, Stevie Wonder's Living For The City is up next but it's the Michael McDonald rendition from his 2008 album Soul Speak, which proves the man who gave us the sublime Sweet Freedom had lost none of his class 20 plus years on.
D-Influence's Good Lover takes things up and brings them closer to home, to the streets of London infact. After a couple of independent releases the band, who had strong connections to the London Jazz and Soul scenes, served up this contemporary boogie tune as part of their 1992 debut long player for East West. They would subsequently score hits as a production team for a number of British R&B acts. Homegrown soul continues with Paul Johnson's Better Than This, released here via longstanding UK soul imprint Expansion to deserved acclaim last year. It's quality and appeal are simply timeless, whilst master Dego and Kaidi's mix adds a classic 80s soul dimension to proceedings.
The Chi-Lites I Keep Comin' Back To You and The Real Thing's Love Takes Tears continue and expand the 80s theme, bringing in 2-step and boogie, as does Deodato's Never Knew Love from the same period.
We switch again with Delroy Wilson's Better Must Come, a massively popular sufferers lament from 1971 by this former Jamaican child star, it would go on to be used in election campaigns by various Jamaican political parties. Kent People by Laurel Aitken & The Gruvy Beat is the next one out the box and was the flip to the 1969 anthem Skinhead Train. It features the UK's top reggae band of the era The Rudies, who along with Aitken, the widely-proclaimed Godfather of Ska, comprised of Earl Dunn (lead guitar), Trevor White (bass), Sonny Binns (keyboards) and Danny Smith (drums). They would go on to enjoy UK chart success backing singer Freddie Notes before they evolved into Greyhound. From the same year Splash Down by The Crystalites is another slate that ignited dance floors in both Jamaica and the UK upon release. Some of you will have noticed the rhythm track is the same as that of the earlier Kingstonians' best-seller, Sufferer, which came courtesy of legendary producer Derrick Harriott.
As the end draws close The Stone City Band featuring Rick James serve up some hard edged boogie, hotly followed by a classic Tom Moulton slice of late 70s disco courtesy of The Fantastic Four and their I Got To Have Your Love. If that doesn't have you dancing then Chanson's superb Don't Hold Back featuring James Jamerson Jr. on bass will leave you no choice. Classic Good Times indeed.

Finnish jazz producer Valtteri Laurell reworks some of J Dilla’s most iconic beats into adventurous big band versions. With drummer/producer Teddy Rok (Teppo Mäkynen of Five Corners Quintet, Stance Bros. etc.), flutist extraordinaire Elena Pinderhughes and Laurell’s own 17-piece Ricky-Tick Big Band, he creates a big band album that you never thought you would hear. Using the sparse and visionary beats of J Dilla as a starting point, Laurell has composed and arranged material on top of the original versions, performed by Ricky-Tick Big Band. ”My original idea was to write very abstract big band moments, that would be like samples Dilla might have used in his work. During the process though, on some of the tracks I started to feel more of a Bob James or Henry Mancini vibe in the arrangements, so the end result is a hybrid of those worlds. Naturally, the spirit of Gil Evans and the later work of Duke Ellington is also floating in the air”. To create a strong connection with the original material, Laurell asked Dilla-aficionado and drummer/producer Teppo ”Teddy Rok” Mäkynen to work with him on the rhythmic side of the pieces. Teddy Rok also mixed the album. As a special guest star, flutist Elena Pinderhughes is featured on Won’t Do and Rico Suave Bossa Nova. Ricky-Tick Big Band, which Laurell founded in 2010 is also well on display here, with rising baritone sax star Linda Fredriksson featured on Beej-n-Dem and trumpetist Jukka Eskola featured on Y’All Ain’t Ready.

For the fifth volume of the Disco Goodies series, Sundries continues its tradition of delivering carefully hand-picked selections designed to satisfy every vinyl enthusiast, presenting a wide ranging collection of disco oriented cuts. From vocal-heavy disco edits like DJ Laurel’s “Rock The World” and Save The Robots’ “Warm Injections,” to classic disco-house fusions such as the irresistibly catchy, eyes-closed groover “Keep Me Loving U” by Gigi Croccante, and “Like A Fool” by Berlin based producer Shabi driven by Chic-style clipped guitar sample ,delivers pure dancefloor energy with character and warmth. Flipping to the B side, you’ll find the slow-mo disco jam “Keep It Coming,” a proto disco soul rework by producer Ben Jamin. GMGN closes the compilation in style, teasing out a hypnotic cut-up loop and layering it over a hazy, late-night atmosphere elevated by lush sax sections.

Ubisoft and Laced Records have forged a new trade alliance, expanding their economic tree to bring the lavish music of Anno 117: Pax Romana to glorious vinyl.

This vinyl set celebrates the ornate score for Ubisoft's richly detailed city builder, capturing the spirit and splendour of the Roman Empire at its peak. From the beautiful heartland of Latium to the mysterious Celtic wetlands of Albion (where no civilized Roman wants to be), every musical cue is steeped in world-building and crafted with remarkable care.

The outer sleeve features striking landscape art from the game, while the inner sleeves present detailed track lists framed with ornate motifs inspired by Roman architecture and pattern work. The result is a set that feels like a treasure from the imperial archives.

The soundtrack charts a journey across the empire, weaving together atmospheric strings, ancient-inspired instrumentation, and sweeping orchestral cues that capture both the serenity of prosperous provinces and the political tensions throughout. The music reflects every choice you, the governor, must make. Diplomacy or domination, tradition or transformation. An emotionally rich and immersive soundtrack worthy of Rome itself.

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

The faultless Is It Balearic? Crew keep summer alive a little longer with a new and blissed out offering from Simon Peter. The title track 'Souvenir ' sets the tone with dreamy electric piano and a Laurel Canyon-style vocal with folky overtones that help evoke hazy sunsets. 'Mystical Delight' drifts deeper into a desert-tinged folk trip, while 'Still Going' adds percussive layers and brings a perfect Balearic balance. On the flip, Peaking Lights rework the title cut into a nostalgic haze, spotlighting the vocals with lullaby warmth. Coyote bring their trademark dub touch to close with a groove that rolls deep into hypnotic territory. This EP feels like a postcard from a distant, golden horizon.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

DJ support: Tim Sweeney, Make A Dance, Parris, Pleasure Voyage, Camillo Miranda

Back yard - Back yard is the first single from the new Teen Daze album, Elegant rhythms, and features singer-songwriter Andy Shauf on drums, and LA jazz staple, Sam Wilkes, on bass. This is a stark change in sound for Teen Daze, who’s last album Interior was an exploration of neon-lit House music. Back yard is a mellow groover, conjuring up images of Laurel Canyon in the 70s, yet still with its flourishes of contemporary sounds.

We’re out of phase again - We’re out of phase again is another vulnerable glimpse into the inner world of Teen Daze, and marks the release of his most personal album to date, Elegant rhythms. In contrast to the synthesized, digital world of his prior album, Interior, here we’ve been brought into a lush, organic arrangement, brought to you in large part to the stunning bass playing by Sam Wilkes. While the verses pulse forward, the chorus slows things down, and evokes the sophisti-pop sounds of The Blue Nile. This track is a stunning showcase of the world of Elegant rhythms.

Nothing’s gonna change my love - Teen Daze returns with his second single of the year, Nothing’s gonna change my love. The stark change in sound, as heard on previous single Back yard, is on display here again: a smouldering, 2 and a half minutes of slow jazz-pop, indebted to the great Sade, or perhaps the feeling of leaving downtown LA at 2 AM. Lyrically, we hear a story of a love, challenged by the unpredictable nature of our lives. This may be Teen Daze’s smoothest song to date.

Neighbourhood - Neighbourhood is the third single from the recently announced LP from Teen Daze, Elegant Rhythms. Along with Andy Shauf on the drums, and Sam Wilkes on the bass, Teen Daze gives us a languid tour of his quiet neighbourhood. The sun has set on the pleasant, tree-lined streets, and a stranger, more surreal environment presents itself. The song plods forward at an extremely comfortable pace, held down by the paradoxically loose-yet-tight rhythm section. Lyrically, we walk around the Neighbourhood at night, and while the chorus reveals a type of sobriety, the vibe of the song makes it easy to feel a little…effected.

Fade away - Fade away sets the tone for Elegant Rhythm’s side B: a deeply personal, though somewhat veiled, confession of loss. How does it feel to grieve something that was never really here? A smouldering, slowly progressing first half erupts in synthetic noise, and then fades into the ether with it’s repeating refrain, “I can feel you / feel you fade away / when there’s nothing / nothing left to say”.

Fall ahead - A sweet piano tune which serves as a quiet break in the record, intended to help the listener reflect and take a moment of pause before we reach the final two songs on the album.

HST underwater - The penultimate track on the record tells a story where the narrator finds themself in an alien, yet oddly familiar place. Arpeggios soaked in crystal blue water flow through the stereo field, while the narrator, vocoded and drenched in autotune, searches for meaning and purpose in a confusing world. This is one of Teen Daze’s most cinematic, emotional songs yet.

In the rain - It’s never really made explicitly clear on this record, but a lot of these songs find Teen Daze wrestling with life as a new father, and this song, the final on the album, expresses the fears of generational trauma. A touching, tender ode to his children, we hear Teen Daze at his most personal and vulnerable. The falling rain surrounds some absolutely breathtaking bass playing from Sam Wilkes, and Teen Daze’s signature ambient keyboard sounds.

Radio Support: Ruf Dug (Soup To Nuts on NTS)

2024 Repress

Along with Chontane's debut on EMERALD he brings a booming revival of heavy looped percussion pressure and stylistic shifts. Every piece is executed with enough feel to cut through the layers and provide warmth and emotion with an updated formula on the earliest impressions of techno.

We can't think of starting the year in a better way. The Legofunk saga delivers another gem. You can't miss it!

GRAILS don’t mince words. Awesomely communicative but entirely instrumental, this dynamic band’s violin, guitars, piano, and drums collide with sober melodies and massive emotion. At alternate moments, Grails can sound vaguely classical, Eastern European, Irish, like the lost tapes of Pauline Oliveros, and, you know, rock. They’re not really like anything else on the Neurot roster, but they’ve got something in common with all the Neurot bands: a commitment to intense music that forges new paths and, yeah, communicates in the most real way possible.
Grails have their fair share of ambient noise - shivery violins, a trickle of a high-hat, the amplified scrape of a guitar string - but their music is based on strong, narrative melodies that resonate in the heart. At times it sounds delicate, but they never cower; Grails ROAR, even when they’re being quiet.
The Burden of Hope is the debut LP, following a pair of self-released, eponymous ep’s in 2000 and 2002. The LP is the culmination of a year’s worth of recordings, including a reinterpretation of Sun City Girls’ classic “Space Prophet Dogon.”
Grails are gathered in Portland, Oregon from Baltimore, Little Rock, Louisville, Chapel Hill, and Reno. As an ensemble, their respective backgrounds in hardcore, classical, folk, and rock blend seamlessly. Formed in late 2000 to execute live the bedroom recordings of guitarist Alex Hall, the once-tentatively-assembled group found unexpected success with both audiences and local press. Originally formed under the moniker Laurel Canyon, the name of the group was changed to Grails to coincide with the release of The Burden

SAXON GO FULL CARPE DIEM WITH THEIR LATEST STUDIO RELEASE

Saxon, those seminal British Heavy Metal Heroes hailing from Barnsley, UK, will release Carpe Diem on February 4th 2022 through Silver Lining Music. Ten titanic tracks bristling with still-clad riffery and proud intent, Carpe Diem is the statement which reminds heavy metal fans worldwide who the true masters of British Metal are, drawing on a variety of ingredients from their career to forge what is Saxon’s most dynamic release in many a year.

"It all starts with the riff,” says frontman and co-founder Biff Byford, "if the riff speaks to me, then we’re on our way. It’s a very intense album, and that’s all down to the fact that the essence of a great metal song is the riff that starts it, and this album has loads of them."

From the title track’s roll-back attack to the incessant speed and power of “Super Nova”, this is Saxon at their purest and most definitive, aggressively parading the pure metal flag and imploring fans old and new to gather and celebrate the very best of both Saxon and the genre itself. “All for One” has the stomp and pure power of a “Princess of the Night” while “The Pilgrimage” is classic “Crusader”-era Saxon. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Richie Faulkner) at Backstage Recording Studios in Derbyshire with Byford with Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British Metal statements of the last few years, one which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.
“I love that sort of fast metal. I love Princess of the Night and 20,000 FT and I try and bring that style of Saxon into the music now but in a bit more modern style” affirms Byford “but it’s the same five guys playing it and singing it, so I think we don’t really sound like an old band on records because we’re not really sitting back on our past success. We’re always trying to make a great album.”
“We want every album we make to go platinum,” says Byford defiantly. "We never make an album that we don’t expect to be fantastic because there are no laurels around here, only a commitment to the best songs and riffs we can write.” Saxon have certainly made sure to Seize the Day; be sure you join them.

Rock legend John Corabi—renowned for his work with Mötley Crüe, The Scream, Union, ESP, and The Dead Daisies—steps into the spotlight with “New Day” his first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that is both timeless and deeply personal. The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now fully integrated into a rich collection of tracks that showcase Corabi’s commanding vocals, heartfelt lyrics, and masterful songwriting.

Throughout the album, Corabi is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen, providing drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; and Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. A trip down to memory lane mostly with a nostalgic mood offering intimate everything that is in between acoustic moments to richly layered arrangements rockers: “New Day” is a journey through the heart of rock, infused with soul and blues sensibilities, and inspired by the melodic grandeur of early Boston and Queen. With a European tour planned for February/March 2026 and additional shows through late spring and summer, Corabi is poised to bring this music directly to fans, delivering both powerful live energy and emotional resonance. More than just a solo debut, “New Day” is John Corabi’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn.

Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

Having played Sold Out tours and supercharged festival appearances across the UK & Europe, It's no wonder that Jim Jones All Stars were personally selected by The Black Crowes on their 'Happiness Bastards' UK & European dates in 2024.The band also recently joined The Wildhearts on their Spring 25' tour dates.The band's debut album, 'Ain't No Peril', was released in September 2023 to universal praise. Their sophomore studio album 'Cat Fight', produced by Chris Robinson (The Black Crowes) is due on April 3rd 2026 via the Black Crowes 'Silver Arrow' Imprint. But, not ones to rest on their laurels, the band just completed a Sold Out tour of the U.K in support of their brand new Live Album 'Get Down - Get With It - Jim Jones All Stars Live (Released October 24th Via Assai Recordings) 'Get Down & Get With It! Is an unvarnished document of a deep, immersive, and mind- bending journey, a transcendent and hypnotic rock and roll experience. It highlights the band's gritty, unapologetic sound, brimming with raw authenticity and attitude. Visceral and uncompromising, it is an electrifying live performance that true believers will never forget

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."