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A few years ago, a very interesting relationship began to develop. A bridge was built out of Jaubi's releases on Astigmatic Records and the increasingly frequent collaborations between musicians from Europe and Asia - out of Latarnik's trip to Pakistan resulting in the widely acclaimed album Nafs at Peace and Zohaib, Dhani and Ali's revisit to Poland, which has been recorded as the EABS meets Jaubi In Search of a Better Tomorrow longplay.

Wrocław and Lahore are almost 7,000 kilometers apart. And despite this immense distance that separates the EABS and Jaubi musicians,
the two bands find a surprising amount of common ground that determines their musical explorations. These include both a strong attachment to locality and respect for tradition, a penchant for weaving in some hip-hop elements, and the basis of a love of improvisation and spiritual jazz. It was therefore only a matter of time before they joined forces. And so, they proceeded to build a (cross)cultural bridge between Poland and Pakistan.

A bridge whose pillars are Hindustani ragas, polish jazz understood in a variety of ways, and brotherhood in sound. This merger's finale is surprising to such an extent that it is difficult to pigeonhole this collaboration in any way.

Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor

Yugoslavian synth-pop band Videotex formed in 1982 but settled on its more lasting line-up in 1983 with Anja Rupel on vocals, Janez Kriaj playing bass, Iztok Turk drumming, and Matja Kosi and Nina Sever both on keys. A year later they broke through with their Videosex 84 debut album and then had another local hit with the follow-up, 1985's Lacrimae Christi. It now gets a first-ever international release, all remastered and on nice heavyweight vinyl. The group had plenty of mainstream hits - two of them are on this album in the form of 'Sivi dan' (or Gloomy Day) and 'Tko je zgazio gospo?u mjesec' (or Who Ran Over Mrs. Moon), played some big concerts and even appeared on national TV before eventually splitting up in 1992.

For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo. “I spent a while thinking about the title for this album; it was quite hard to pin down the feeling I felt it represented. At a certain point I realised it was nostalgia, for everything; our life passed by, childhood, moments of happiness and sadness, where we grew up”. – Skinshape // Will Dorey aka Skinshape has proven himself time and again as a connoisseur for the cosmopolitan, across a prolific career expertly exploring understated sounds and theatrical textures. Taking his place alongside the likes of Khruangbin, Tame Impala, Bonobo and Madlib, Skinshape’s global kaleidoscopes are loaded with warmth and wisdom created on vintage analogue equipment applying a perfectionist’s touch. As a former member of indie band Palace, he has played everywhere from Glastonbury and BBC Maida Vale to headlining Shepherd’s Bush Empire. Conversely as a solo artist Skinshape has never played live preferring to record, releasing an album a year (two in 2020’s lockdown) and keeping away from the trappings of stardom.

London-based producer Prayer is set to release a 3-track EP titled "Io" on Rua Sound's SPHERES series. Following previous releases on esteemed imprints such as Hooversound, Black Acre, and Grade 10, Prayer is known for creating atmospheric jungle with an emotive energy that can range from poignant to ecstatic.

Prayer flexes that muscle on opening track 'Set Me Free' with layers of vocals over euphoric breakbeats. "Break Through" takes a turn towards trance-influenced synths, building to a four-on-the-floor finale that reaches for the sky.

On the B-side, Reteoric takes over with an epic jungle track that clocks in at just under 12 minutes. The emotive energy of this track is aptly described as "epic" and serves as a fitting conclusion to the EP. Tim Reaper comes through with a remix of this track as a digital bonus.

Named after the third-largest moon of Jupiter, "Io" is the third release in Rua Sound's SPHERES series. The EP will be available on June 16, 2023.

Rob Grant präsentiert sein atemberaubendes Debütalbum ”Lost At Sea”.
Grant hatte nie den Plan, Musiker zu werden. Er hat keinerlei musikalische Ausbildung genossen. Noten lesen kann er nicht. Aber wenn er sich an ein Klavier setzt, geschieht etwas Magisches. Die Noten strömen aus ihm heraus und es entsteht eine Komposition nach der anderen.

Als Vater der internationalen Ikone Lana Del Rey hat er eine ganze Reihe von Talenten eingeladen, an der Entstehung des Albums mitzuwirken.

Seine Tochter Lana Del Rey ist als Autorin und Produzentin tätig, während Jack Antonoff, Luke Howard, Laura Sisk und Zach Dawes an der Produktion beteiligt sind.
Sein Album inklusive der Tracks ”Hollywood Bowl” und ”Lost At Sea”, mit Vocals seiner Tochter Lana Del Rey, erscheint am 09. Juni und ist vorbestellbar auf CD und Vinyl.

New Land präsentiert mit Stolz das erste Box-Set mit mehreren LPs von Dorothy Ashby - einer der am meisten übersehenen Künstlerinnen der Jazzgeschichte. Die 6 LPs, die in diesem aufwendigen Box-Set enthalten sind, geben einen längst überfälligen Rückblick auf ihre frühen Werke: 'The Jazz Harpist', 'Hip Harp' mit Frank Wess, 'In A Minor Groove' mit Frank Wess, 'Soft Winds: The Swinging Harp Of Dorothy Ashby', 'Dorothy Ashby' und 'The Fantastic Harp Of Dorothy Ashby' wurden mit der vollen Unterstützung des Nachlasses von Dorothy Ashby offiziell lizenziert.

Alle Alben, mit Ausnahme von 'The Jazz Harpist' und 'Dorothy Ashby', wurden von Kevin Gray direkt von den analogen Originalbändern neu gemastert und im Lackschnittverfahren auf schwarze 180g-Vinyle gepresst.

Das Herzstück dieses Box-Sets ist allerdings das umfangreiche 44-seitige Buch mit einem Vorwort der Grammy-nominierten Harfenistin Brandee Younger, ausführlichen Linernotes von Shannon J. Effinger und bisher unveröffentlichten Fotos und Interviews mit denjenigen, die sie am besten kannten. Das Box-Set ist weltweit auf 1000 Stück limitiert.

UK artist Jayson Wynters debuts on Pulp with four tracks of atmospheric house and funk that come complete with remixes by Jarren and Mogwaa.

Kung fu master Wynters hails from Birmingham and has been a key player on his local scene for years. More recently he has broken out with impressive EPs on mighty Dutch label Delsin and Adam Shelton's EON. He has a real love of hazy house and always brings his own unique take on that to his timeless analogue grooves. This latest EP was written during lockdown, which provided Jayson a chance to explore different sounds and delve into different styles.

Opener 'Solitude' proves that with its misty-eyed melodies and dreamy pads. The drums tumble loosely, the percussion has a frayed edge and the whole thing is coated in warmth and soul. Half Moon's Jarren is based in LA and brings plenty of that city's musical charm to his remix. It has far-sighted chords, soft-focus harmonics and well swung claps and drums that are simply irresistible.

Wynters then offers 'Corns Funk,' which pairs another dusty drum line with pinging kicks and woodpecker-like percussive hits. A superb twanging bass riff brings some real funk and retro-future feels as the groove builds and bright synths shine through the haze to enrich your soul.

'Night Drive' is a lush downbeat tune for sunset cruises. It has heart-melting chords that prompt deep inward reflection and features an aching guitar riff full of melancholy. The remixer for the one is Seoul musician and master beatmaker Mogwaa who layers in squelchy synth bass and dreamy, loved-up pads. Last of all, 'Uncle's Jam' is Dam Funk-style electro bliss doused in lo-fi chords and languid late-night funk and packed with romance.

Jayson Wynters shows off another superb side to his sound with his expansive Solitude EP.

Emile Mosseri is an Oscar and GRAMMY nominated artist, earning acclaim for his scores for the films Minari (2021) and The Last Black Man In San Francisco (2019) Recently worked with Kaitlyn Aurelia Smith on the critically acclaimed album, "I Could Be Your Dog / I Could Be Your Moon" (2022). On Heaven Hunters, Mosseri looks inwards, using his distinctive sound and gift for musical storytelling for his most personal work. Produced by The Haxan Cloak, Heaven Hunters explores the weight of choosing one path in life, putting to death every other possible future, and finding comfort in redefining happiness.

For Mosseri, the search for Heaven _ a concept of perpetual happiness void of suffering _ is a fruitless effort that blocks us from finding peace and balance in life as it really is. Driven by Mosseri's poignant lyrics and intimate singing, Heaven Hunters is a celebration of the highs and lows that create that equilibrium, built around songs of longing, love, heartbreak, familial struggle, and domestic bliss. It is a vulnerable, heartfelt album that is both expansive and cinematic in its dynamic scope and deeply stripped down and exposed in its emotional core, ready to be experienced as intimately as possible.

Launched in 2016, Lunar Orbiter Program continues to prove the ability of his pilot Torai who is just back from his second moon landing.

Nachdem seine intime Underplay-Show-Tour „SHHH“ im März binnen Sekunden ausverkauft war, kündigt Archy Marshall sein mittlerweile viertes Studioalbum „Space Heavy“ als King Krule an. Erscheinen wird es am 9. Juni bei XL Recordings. Zehn Jahre nach der Veröffentlichung seines umjubelten Debütalbums „6 Feet Beneath the Moon“ zeigen die 15 neuen Songs den britischen Songwriter auf der Höhe seines Schaffens.



Entstanden ist das Album zwischen 2020 und 2022, als Archy Marshall sowohl London als auch Liverpool seine Heimat nannte und viel Zeit auf den Reisen von einem zum anderen Ort verbrachte. Während diesen Trips entstand seine Faszination für „the space between“, wie er es nennt: die Orte, die von Träumen voller Liebe verfolgt werden, während sich Archy in seinen Texten mit persönlichen Verlusten befasst. Nachdem die Texte fertig waren, entstand die Musik gemeinsam mit dem Produzenten Dilip Harris sowie seiner langjährigen Band, bestehend aus Ignacio Salvadores (Saxophone), George Bass (Schlagzeug), James Wilson (Bass) und Jack Towell (Gitarre).



In den 15 Songs von „Space Heavy“ verbinden sich viele Elemente seiner bisherigen Karriere mit dem klanglichen Kosmos, der ihm das Attribut als eine der Stimmen seiner Generation einbrachte. Die dichten Lyrics seines Debüts, die Verschiebung seines Sounds bei „The OOZ“ (2017), die Ursprünglichkeit von „Man Alive!“ und die rohe Verletzlichkeit, die er auf „You Heat Me Up, You Cool Me Down“ zeigte, fließen in den Sound seines neuen Albums ein.



Mit der Albumankündigung erscheint die erste Single „Seaforth“ mitsamt Video, bei dem seine regelmäßige Kollaborateurin und Visual Artist Jocelyn Anquetil Regie geführt hat.

Though she had been performing professionally since the late 1920s, as a teenager in Harlem, during its Renaissance, the immortal Billie Holiday didn't play a single night on the European continent until 1954. It was in that year that the great journalist and musician Leonard Feather, and a Swedish promoter organized the Jazz Club U.S.A. tour, named after Feather's wildly popular radio program. Featuring Red Norvo, Sonny Clark, and more, the centerpiece of Jazz Club U.S.A. was, undoubtedly, Lady Day. Recorded at various dates across the tour, Lady Love shows Holiday still had it, despite the turmoil, and drug and alcohol abuse, her voice remained strong, a stunning document of one of America's greatest treasures on her first ever tour of Europe.

Originally released in 1962. Recorded July 24, 1962 at the 3rd International Jazz Festival D'Antibes/Juan-Les-Pins, this is classic 1960s Dizzy. It's smooth and swinging without losing any of his patented power. Produced by Quincy Jones, and featuring piano and arrangements from Argentinian master Lalo Schifrin, Gillespie shines here alongside underrated reed man Leo Wright. A great early '60s Dizzy group absolutely slaying live to a receptive audience.

Powder Blue Vinyl. In den letzten fünfzehn Jahren haben Beach Fossils ihren Status als eine der definitivsten und beständigsten Bands des New Yorker Undergrounds der 2010er Jahre stetig ausgebaut und neue Hörer erreicht, während sich ihr Sound vom DIY-Soloprojekt von Dustin Payseur zu einer einflussreichen vierköpfigen Dream-Pop-Band entwickelt hat, die selbst produziert, selbst gemanagt und selbst veröffentlicht wird. Bunny steht für Stärke durch Verletzlichkeit. "Bunny" setzt die atemberaubende Entwicklung des Beach Fossils-Sounds fort, indem es Elemente aus der jangligen Melancholie der "What a Pleasure" EP (2011), den düsteren, Post-Punk-inspirierten Tracks von "Clash the Truth" (2013) und den üppigen Arrangements von "Somersault" (2017) aufgreift und ihren "Dream-Pop-Instinkt mit jeder weiteren Veröffentlichung schärft" (INTERVIEW). Inspiriert vom Psych-Pop der frühen Verve- und Spiritualized-Alben sowie von Einflüssen wie The Cure, Wire, den Byrds und Velvet Underground wurde "Bunny" von Payseur selbst produziert und aufgenommen, wobei Lars Stalfors (St. Vincent, Soccer Mommy, Lil Peep) als Mixer fungierte. Payseur merkt an, dass bei der Entstehung dieses Albums mehr Wert auf eine stärkere Ausrichtung auf Popstrukturen gelegt wurde. "Als ich die erste Platte schrieb, gab es keine Refrains, sondern nur instrumentale Gitarrenparts zwischen den Strophen. Dies ist die erste Platte, bei der ich bewusst darüber nachgedacht habe, einen Refrain zu schreiben." Unterstützt wird er dabei von den Bandmitgliedern Tommy Davidson (Gitarre), Jack Doyle Smith (Bass) und Anton Hochheim (Schlagzeug). "Bunny" ist das bisher lebendigste und persönlichste Werk der Band. Die Songs handeln von Depressionen, Liebe, Abenteuern, Verlusten, Fehlern, New York City, Freundschaften, die kommen und gehen - eine Melange aus körnigen Stücken im Prozess der Selbstfindung. Payseurs collageartige Texte kommunizieren durch Ton und Stimmung ebenso wie durch Erzählungen; New Yorker Dichter wie Frank O'Hara, Ted Berrigan und Anne Waldman sind Einflüsse, ebenso wie das Tao Te Ching.

Powder Blue Vinyl. In den letzten fünfzehn Jahren haben Beach Fossils ihren Status als eine der definitivsten und beständigsten Bands des New Yorker Undergrounds der 2010er Jahre stetig ausgebaut und neue Hörer erreicht, während sich ihr Sound vom DIY-Soloprojekt von Dustin Payseur zu einer einflussreichen vierköpfigen Dream-Pop-Band entwickelt hat, die selbst produziert, selbst gemanagt und selbst veröffentlicht wird. Bunny steht für Stärke durch Verletzlichkeit. "Bunny" setzt die atemberaubende Entwicklung des Beach Fossils-Sounds fort, indem es Elemente aus der jangligen Melancholie der "What a Pleasure" EP (2011), den düsteren, Post-Punk-inspirierten Tracks von "Clash the Truth" (2013) und den üppigen Arrangements von "Somersault" (2017) aufgreift und ihren "Dream-Pop-Instinkt mit jeder weiteren Veröffentlichung schärft" (INTERVIEW). Inspiriert vom Psych-Pop der frühen Verve- und Spiritualized-Alben sowie von Einflüssen wie The Cure, Wire, den Byrds und Velvet Underground wurde "Bunny" von Payseur selbst produziert und aufgenommen, wobei Lars Stalfors (St. Vincent, Soccer Mommy, Lil Peep) als Mixer fungierte. Payseur merkt an, dass bei der Entstehung dieses Albums mehr Wert auf eine stärkere Ausrichtung auf Popstrukturen gelegt wurde. "Als ich die erste Platte schrieb, gab es keine Refrains, sondern nur instrumentale Gitarrenparts zwischen den Strophen. Dies ist die erste Platte, bei der ich bewusst darüber nachgedacht habe, einen Refrain zu schreiben." Unterstützt wird er dabei von den Bandmitgliedern Tommy Davidson (Gitarre), Jack Doyle Smith (Bass) und Anton Hochheim (Schlagzeug). "Bunny" ist das bisher lebendigste und persönlichste Werk der Band. Die Songs handeln von Depressionen, Liebe, Abenteuern, Verlusten, Fehlern, New York City, Freundschaften, die kommen und gehen - eine Melange aus körnigen Stücken im Prozess der Selbstfindung. Payseurs collageartige Texte kommunizieren durch Ton und Stimmung ebenso wie durch Erzählungen; New Yorker Dichter wie Frank O'Hara, Ted Berrigan und Anne Waldman sind Einflüsse, ebenso wie das Tao Te Ching.

Das neue Album der niederländischen Death/Doom Metalband knüpft nahtlos an den Sound des Vorgängers 'Mysterium I' (2022) voll düsterer Verzweiflung und schöner Melancholie an.

Over the past five years, Mark has forged a unique identity in underground drum’n’bass, alloying traditional junglist motifs and electroacoustic ambience through a series of singles on A Colourful Storm and Unterton. A Colourful Storm now presents the culmination of his work and debut album, a shapeshifting expression of luminescence and rhythmic complexity.

Mark’s ambitions with Integrier Dich Du Yuppie (2017) and The Least Likely Event Will Occur In The Long Run (2018) reflected upon the relationships between - and division of - people, place and power. Now he responds with two pieces featuring his signature skittering drums, seismic sub-bass and atmospheric passages recalling Roland Kayn, Luigi Nono and Bernard Parmegiani. Moonlight shines, choral voices appear from above. Arresting, unnerving tranquility.

Recommended for fans of Eli Keszler, Hiro Kone, Torsten Pröfrock and Kali Malone.

Originally released in 1996, Come's third album 'Near Life Experience' was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock'n'roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks 'Prize', 'Strike', 'Hurricane II' stemming from the same era, additional liner notes and photographs. After Come's seminal 1994 release 'Don't Ask Don't Tell', bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA. The title of the album resulted from "a slip of the tongue, as Zedek states, she "was telling someone she had had a 'near life experience,' but meant to say near death experience. Chris [Brokaw] was cracking up at the imagery of that. Thus, the phrase was chosen as the album's title. "Near-Life Experience is heavier, and at the same time prettier, than Come has ever sounded." CMJ New Music Monthly. "Come is a re-energized, even more powerful band than they used to be, and Near Life Experience is their most concise and affecting release yet." All Music. Zedek and Brokaw might have compensated the loss of band members by recruiting new blood but the reward was huge, 'Near Life Experience' is Come's most cinematic, diverse and accessible album.

xa 7. Tall Black Guy (Pharaoh's Spirit) [feat. Bemyfiasco, Ozay Moore & Kyotey Grey] - My Freedom Travel

The 1st album released in August 2021 attracted attention in the overseas scene, and labels from various countries such as Italy, Argentina, US and Poland. More release realized. Only half a year after that, they completed the remarkable 2nd album. Based on the royal road doom sound and the music with the blues feeling derived from 70's, the band ensemble with more euphoric feeling gets a lot of attention. A full lineup of songs such as "Devastator", which freely grooves from a side-beating beat to double bass, and "Agua De Vida", which enhances smoke and trip feeling under the direction of Mr. Okazaki. In the mellow "Underneath the Sky" and "Running In my Vein", the taste that has withered moderately is impressive. With the help of an effectively crafted album composition, it can be argued that they have reached the next level in this work. Don't miss the further leap of "Tokyo samurai doom" !!