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Eivør, die oft als eine der produktivsten und einzigartigsten nordischen Künstlerinnen ihrer Generation angesehen wird, hat bis heute 11 Studioalben veröffentlicht, wobei sie musikalische Genres und immer wieder die Grenzen des Erwarteten überschreitet. Eivørs musikalische Reise, die 2021 mit dem Musikpreis des Nordischen Rates ausgezeichnet wurde, fasziniert weltweit - von den größten Festivalbühnen Europas bis hin zum Soundtrack für die Netflix-Hitserie The Last Kingdom und das Videospiel God of War: Ragnarök.

Ihr kommendes neues Album 'Enn' knüpft an Eivørs nordische Wurzeln an. Die meisten der Texte, die komplett auf Färöisch gesungen werden, entstanden in Zusammenarbeit mit dem färöischen Dichter Marjun Syderbø Kjelnæs. Eivør bezeichnet den Text des Titeltracks als besonders "hardcore". Der Song handelt vom Krieg - "von den Kriegen, die in der Welt vor allem in letzter Zeit stattfinden, die es aber schon immer gegeben hat", sagt Eivør, "und davon, wie man in dieser überwältigenden Dunkelheit einen Lichtblick findet." Der gutturale vorletzte Track, "Upp Úr Øskuni", ist ein aufregender Ausreißer, der knurrendes Beatboxing mit viszeralem Kehlkopfgesang mischt (sicherlich Eivørs metallischster Moment).

'Enn' sticht aus Eivørs Diskografie als kühnes neues Projekt heraus. Ihr Debütalbum für Season of Mist lehnt sich stärker an dunkle Elektronik an - der neuer Prophet-5-Synthesizer hat es kaum aus der Verpackung geschafft, bevor sie "Hugsi Bert Um Teg" anstimmt, ein schwelgerisches Stück Dream-Pop, das wie die Farben der Milchstraße tanzt.

Im Großen und Ganzen folgt 'Enn' einem kosmischen Bogen. Der Titeltrack ist eine symphonische, vom Krieg zerrissene Weltraum-Odyssee. Aber das Album widmet sich auch irdischeren Themen. Die Leadsingle "Jardartra" wird aus der Perspektive einer verletzten Mutter Erde erzählt, mit einer stetig pochenden Basslinie, die so dunkel und warm ist wie der geschmolzene Kern unseres Planeten ist. "Komm und leg dich in meine blaue Umarmung", singt Eivør und entfesselt dabei in ihr opernhaftes Register, als wolle sie uns ins Licht locken.

Basque artist Elena Setién shapes the ethereal
into the immediate on the stunningly pristine songs
of ‘Unfamiliar Minds’. Her command of melody and
resolute voice are complemented by lush
arrangements that surround the listener in a world
of intimate beauty.
 Setién is an accomplished multi-instrumentalist,
collaborator and improviser, having worked with
artists like Mary Lattimore and Steve Gunn, as well
as composing for film and television.
 On ‘Unfamiliar Minds’, Setién reflects on isolation
and confusion and harnesses uncertainty with
optimism on ten ghostly wonders that capture
ineffable feelings in radiant detail.
 Produced by Xabier Erkizia, with whom Setién also
composed ‘Mirande’ and the soundtrack for
‘Altsasu’, a 2020 Basque TV miniseries.
 Mastered by Denmark’s RedRedPaw Mastering
(Oh Wonder, Colleen).
 LP with full colour inner sleeve and lyrics plus
digital download card.
 “Her songwriting invites curious listeners in, adding
texture and complexity where we may not have
found it ourselves.” - Pitchfork
 “Confident and auspicious... Setién masterfully
creates a musical space to cultivate social
progress.” - PopMatters (9/10)

With two solo CDs and another three with Cahalen Morrison behind him, today he's become the master folk troubadour he was destined to be, and we're all the richer for it. The Pacific Northwest singer- songwriter met his wife, his beloved father has passed away, and his two children now shape his world around him. With age comes wisdom and, for master musicians, clairvoyance. His third album, The Shape of a Sway, reflects just that: A master telling tales of life lived honestly, amid paradox and reason, injected with change and growth, bruises and enlightenment: Life not just worth living, but worth lifting up in song. Gifted as a writer, singer, and instrumentalist (guitar, mandolin, banjo, pedal steel), West gets support from his equally stellar regulars, fiddler Patrick M'Gonigle and bassist Forest Marowitz. All three share intertwining harmony vocals. The Shape of a Sway, he says, "is an honest inventory of my life, possibly all of our lives, presented possibly with enough abstraction that listeners will see something of themselves, of their lives."

Chicago-based guitarist / composer Eli Winter's new self-titled album
finds him building on the promise of his recent records - like 2020's
Unbecoming and his 2021 collaboration with Cameron Knowler,
Anticipation - with a gem of an album on which he leads an ad-hoc group
that delicately balances a range of colors and moods
Winter is an accomplished player with impeccable technique and an unassuming
virtuosity, capable of both mesmerizing intricacy and florid romanticism, but on
Eli Winter he frequently plays a supporting role, creating ample room for his
collaborators. The result is the sound of an artist escaping any lingering shadows
of his primary influences and coming into his own; ironically, Winter does this by
deemphasizing his role as traditional bandleader. Assisted by a murderer's row of
peers and contemporaries including Cameron Knowler, Yasmin Williams, David
Grubbs, Ryley Walker, Tyler Damon, jaimie branch, and others, Eli Winter
showcases a compositional depth and authoritative skill only hinted at on
Winter's rightfully acclaimed previous work. Highly recommended.

Describing herself simply as a ' modern English musician', Eliza Carthy is
one of the most recognisable faces in British folk
From the purest unaccompanied traditional songs to original music incorporating
myriad influences, she has moved through English folk music like a force of
nature, both stirring it up & putting it back on the map, and as a member of big
bands The Imagined Village, and the musical force- of- nature that was The
Wayward Band she has headlined main stages at festivals around the world. With
a wealth of musical & life experience under her belt, Eliza's talent has matured
and is flourishing. She continues to bring new audiences to English folk through
well- judged recordings, performances, and collaborations with the likes of Paul
Weller, Jools Holland, Patrick Wolf, and Kae Tempest. 2022 sees Eliza celebrating
an incredible 30 years in the music business with album Queen Of The Whirl,
featuring new interpretations of fan- selected favourites from her previous
albums, recorded with her band Eliza Carthy & The Restitution.

Centripetal Force (North America), in conjunction with Cardinal Fuzz (UK/Europe), is excited to announce the upcoming release of Elkhorn’s The Acoustic Storm Sessions, the sister album to the much-lauded The Storm Sessions released earlier this year on Beyond Beyond Is Beyond. The album is being presented in a 500 copy vinyl pressing and will be made available for preorder on September 14th. The Acoustic Storm Sessions’ release date is October 2nd.

Elkhorn is known for their unique blend of psych/folk guitar music, with Jesse Sheppard on fingerstyle twelve-string acoustic and Drew Gardner on six-string electric. The Acoustic Storm Sessions, recorded the evening before The Storm Sessions, also features Turner Williams (Ramble Tamble, Guardian Alien) on guitar and marks the first time Elkhorn has created an entirely acoustic album.

The Acoustic Storm Sessions is comprised of two side-long tracks drawing on the trio’s intimate knowledge of each others’ playing as they immerse themselves in the spirit of improvisation and allow it to guide the music’s course. As a result, there are raga-like qualities to these pieces, a revolving array of melodies, rhythmic flourishes and subtle embellishments that not only entrance the performers but the listener as well. There is no doubt that the group’s meditative intensity on The Acoustic Storm Sessions is at an unprecedented level.

The nature of these spontaneously composed pieces offers audiences an endless number of experiences and interpretations. A listen to either side of The Acoustic Storm Sessions today could sound completely different tomorrow. What seems like a page taken from the tomes of American Primitivism during one sitting recalls the motorik rhythms of early 70s Germany on the next. And, thanks to the constant intertwining of three spiraling guitars, the music on this album takes on an ever-shifting visual aspect. The perspectives are in flux, each guitar mercurially switching between foreground, middle and background, creating sharp and linear textures before receding to a more atmospheric realm. The experience is an ongoing kaleidoscopic shift in sound that adds detail and depth and colors the mind.

Perhaps the most important elements of The Acoustic Storm Sessions can be found in the circumstances behind its recording. Finding themselves snowed in to Gardner’s home studio after a massive storm forced the cancelation of a highly anticipated gig in Brooklyn, the trio decided to turn an unfortunate occasion into an opportunity to create and were able to record material for two records. Such endeavors are never easy, for mental and emotional release often requires a major shift in mindset. Instead of reaching outward for such release, one must find a way to reach within. These are the moments in which music becomes most valuable as a positive force for self-healing, and this album not only exemplifies the degree to which Elkhorn was able to make the necessary mental adjustments, it also serves as a tool for listeners to use in their own lives. In a pandemic year of isolation and turmoil, we are often left to our own devices to see ourselves through each day. The Acoustic Storm Sessions provides the kind of deep listening experience that can help transcend the noise and tumult of everyday life and make the necessary reach inward that much easier. Formed in 2013, Elkhorn has released six albums and toured both coasts and the midwest. This is their first collaboration with Centripetal Force and Cardinal Fuzz.

Debut standalone VHF album by the Elkhorn duo of Drew Gardner and Jesse Sheppard, a tight set of six studio recordings in a variety of moods and featuring a lot of new sound textures. Elkhorn’s prolific stream of releases since 2016 has highlighted their mastery of sprawling long-form, acoustic-driven hypno-jams, with an emphasis on live performance (including on their collaboration with Pelt’s Mike Gangloff on the Shackamaxon Concert album). The Red Valley is a more layered and composed-sounding set, with the duo overdubbing extensively on top of their own dual guitars. Leading off the LP, “Crystal Hummingbird” features one of their signature minor-modal vamps, with layers of fuzz bass, zither, and frame drum providing weight and psychedelic density. “Gray Salt Trail” continues the vibe, with thick fuzz vibraphone supplementing the cinematic palate, leading into the spare side-closer “Black Wind Of Kayenta,” where Sheppard plays electric 12-string and Gardner solos on acoustic guitar. Side two starts with “Road to Chaco Canyon,” a brooding duet that builds momentum with Gardner’s insistent frame drum cadence, dropping down into the quiet string pool of “Inside Spider Rock” (featuring Fern Knight’s Jesse Sparhawk on gloriously swirling lever harp) and the graceful finale “Jackrabbit Hops.”

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

With a familiar 1, 2, 3…Elliott BROOD count in a new album cycle, Town & Country, that explores the people and places that shape our lives, wherever we call home. On part one, Town, Elliott BROOD rumble and rock over a map of the towns and cities that populate their experiences and imaginations. With their brand of nitty gritty city folk mixed with retro nods, be it classic country or 60s surf, Elliott BROOD take us on a highly entertaining trip. Who better to write an ode to Windsor, ON (“Rose City”) than the band that has become the city’s unofficial ambassadors. Over bridges and into barrooms, lose your way to find yourself in Elliott BROOD’s "Town".

Die Synthesizer-Künstlerin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist und gewann damit ein treues Publikum. Nach einer Reihe gefeierter EPs nahmen Florist fünf Studioalben auf, die sich durch ihre intime Weltgestaltung und durch Spragues gefühlvollen Gesang auszeichnen. Den Soloalben "Hill, Flower, Fog" aus dem Jahr 2020 und "Cloud Time" aus dem Jahr 2025 - einem Album mit modularen Synthesizern, das live in Japan aufgenommen wurde - nachfolgend, ist "Cyano" ist ihr erstes Soloalbum, das Spragues intuitive Synthesizer-Musik mit dem Songwriting verbindet, für das sie mit ihrer Band Florist bekannt ist, und führt Gesang in ihr bisher rein instrumentales Schaffen ein. Absichtlich minimalistisch gehalten, ist Spragues Gesang wie eine rauschbehaftete Übertragung, die einen technischen und symbolischen Wendepunkt markiert - mit experimenteller, formloser Musik, die die eher konventionellen Songstile von Florist dekonstruiert. Emotional verankert und von Vergänglichkeit getrieben, spiegelt das Album sowohl Spragues inneren Raum als auch den konzeptionellen Planeten "Cyano" wider und setzt sich mit dem Selbst, dem Anderen, der Ökologie und dem Leben in einer fernen Welt auseinander. Spragues musikalischer Ansatz ist geprägt von einer zutiefst persönlichen Atmosphäre, die darin wurzelt, Geschichten über sich selbst und andere - Formen der innerpersönlichen und zwischenmenschlichen Verbindung - sowie die Unbeständigkeit dieser Versuche zu ergründen. Durch intime phänomenologische Erkundungen bietet "Cyano" subtile und eindrucksvolle Klangtexturen, die Verletzlichkeit einbeziehen. Emily A. Sprague erschafft eine komplexe Welt und erweitert dabei ein Klangspektrum, das zugleich vertraut und zutiefst neu ist - ein Spiegelbild ihres inneren Spektrums, das in andere Welten blickt.

"bold, direct, uncompromising - reaching new levels of lyrical literacy.” CLASH Following the release of the blissful and poignant singles ‘Return Me’ and ’The Woman Who Planted Trees', acclaimed singer-songwriter Emily Barker has announced that her forthcoming album, A Dark Murmuration of Words, will be released on September 4th on Thirty Tigers. Produced by Greg Freeman (Portico Quartet, Peter Gabriel, Amy Winehouse) and recorded with an incredible band featuring Rob Pemberton (drums, percussion, synth, backing vocals), Lukas Drinkwater (bass, guitars, backing vocals), Pete Roe (guitars, keys, backing vocals), Misha Law and Emily Hall (strings), A Dark Murmuration of Words searches for meaning in a rapidly shifting modern world. Barker's clear voice cuts through the deafening clamour of fake news and algorithmically filtered conversation to deliver a timely exploration of the grand themes of our times through the lens of what it means to return “home.” The American writer Emily Dickinson once said that “If you take care of the small things, the big things take care of themselves” - like the starlings in a murmuration, where the movement of each individual bird is related to just seven of its closest neighbours, none of them aware of the mesmerising, fluctuating shapes being created by the flock. Throughout the ten songs that make up the album, Barker draws connections between the familial, the local, and the global: a mother sings to her unborn child, asking for its forgiveness on 'Strange Weather'; 'When Stars Cannot Be Found’ explores the humbleness and comfort of the night sky when far away from home. Other highlights include the nostalgic ‘Return Me’, the gloriously defiant ‘Machine’ and the effortless album closer ‘Sonogram’. This is the fourth solo release for Emily, who has won an Americana UK 2018 Award for Artist Of The Year, a Folk Alliance Award and a Royal Television Society Award for best TV theme.

A self-described chronically-sincere farm girl, Emily Hines grew up on a farm in rural Ohio before moving to Nashville where she played in other songwriters' projects before recording her own songs on a 4-track cassette recorder. Hines worked with producer Henry Park. Together they drew inspiration from acts like Duster, Laura Marling, and Karen Dalton to record simply and add layers one at a time. The resulting collection makes for something truly special; rich and decadent but also earthy and cracked. Emily prioritized creating a recording that feels human and present, and the outcome is palpable throughout These Days. At times we're right there in the room with Emily, up close and deeply personal, at other points it's as if you're straining to hear from the outside listening in; ear to the wall, notes carried and caught in the breeze. "We were drawn to the 4-track because it constrains the urge for perfectionism and encourages authenticity to the moment," Emily explains. "What you get is what you get, the 4-track doesn't afford you to get surgical about the details - and that can be really freeing." "Listening to Emily Hines' lo-fi folk ballads feels like discovering a cult hero's lost demos-these gentle, heart-mending recordings crackle with intimacy and seem to unfold as you're listening.' Paste Magazine 'Hines sings plaintive and romantic acoustic ballads, small moments of a life that build to something far greater within the woozy timber of her voice." - Gold Flake Paint

The album is a powerful reaffirmation of human creativity: "My music has always been about connection, bringing enduring old stories into conversation with contemporary life," Portman says. "This album is a collective, entirely human-made effort, and it's richer because of it." Renowned for her luminous songwriting and distinctive voice in contemporary folk, Portman steps into bold new territory with an album that charts a heroine's midlife journey through dark woods in search of wonder. Drawing on ballads and folktales, Dominion of Spells explores themes of burnout, misogyny, motherhood, miscarriage and personal transformation, weaving lived experience with mythic imagery and traditional folk narratives. The title track, Dominion of Spells , reclaims a 17th- century phrase once used to diagnose women as "disordered", drawing on the myth of the wandering womb and the long history of medical misogyny. Portman transforms these ideas into a vision of a freer, fairer realm where women's bodies are understood rather than feared. The first single, Turn Again , is a tender meditation on parenthood, inspired by her young son's imaginative shapeshifting games and echoing the Tam Lin ballad, where steadfast love breaks a powerful spell. Elsewhere, the album explores women's right to move safely after dark, genderswapped retellings of heroic quests, miscarriage, phone addiction and the restorative power of creative practice.

Colorado songwriter Emily Scott Robinson beckons to those who are lost, lonely, or learning the hard way with American Siren, her first album for John Prine's Oh Boy Records. With hints of bluegrass, country, and folk, the eloquent collection shares her gift for storytelling through her pristine soprano and the perspective of her unconventional path into music. Though not fully autobiographical, American Siren gracefully blends imagined characters with meaningful people she’s encountered on her journey. Robinson grew up in Greensboro, North Carolina, and turned toward guitar at age 13, after a summer camp counselor closed out the nights by playing songs by Joni Mitchell, Cat Stevens, and Dar Williams every night. She taught herself to play in the early 2000s by printing guitar tabs from the internet and singing to CDs by Indigo Girls and James Taylor. But she didn’t pursue songwriting until after seeing Nanci Griffith perform in Greensboro in 2007. Robinson received significant acclaim for her 2019 album, Traveling Mercies.
Her long-held dream came true later that year when she sang on the Telluride Bluegrass Festival stage as the winner of the Telluride Troubadour Contest. A poignant standalone single in 2020, titled “The Time for Flowers,” prompted a private Instagram message from Oh Boy Records’ Jody Whelan, letting her know how meaningful the song was to his family. They struck up a fast friendship, then decided to partner for a release of American Siren. For her fans and for herself, this revealing collection proves that heeding the call to make music was the right decision.

The Blowback is the new album by Emily Wolfe. Emily wrote or co-wrote most of the tracks with bassist Evan Nicholson. Produced by Emily Wolfe Engineered by Matt Gerhard (Spoon, Tennis, Future Islands) Mixed by Cian Riordan (St. Vincent, Sleater-Kinney, Paul McCartney, Lana Del Rey) Mastered by Chris Gehringer - Sterling Sound Emily Wolfe asserts her talent as a dynamic vocalist, sharp songwriter, and an accomplished guitarist and producer. She delivers a brand of rock ‘n’ roll that’s raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. This young and impassioned artist has amassed millions of streams and garnered widespread acclaim from The Wall Street Journal, MTV, Guitar Player, PASTE, American Songwriter as well as her hometown paper, the Austin-American Statesman and many others. Recognized as a force on the instrument, Emily has collaborated with Epiphone/Gibson Guitars on two signature Sheraton models which is a rarity for an artist that isn't yet selling out stadiums. After quietly emerging as a phenomenon, Emily projects her voice like never before on her third full-length album, which she produced

Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band’s co-founder, has announced her debut solo album, Pearlies. One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

Emma gave us a taste of the album in the single “What Is Love?” late in 2018. Recorded for the short film “An Athlete Wrestling a Python’, Emma writes about the simplicities of love, asking “What Is Love?”. During the song she asks, "is it borrowing a t-shirt?” OR is it “reading over shoulders?”. It is many things! Apart from the personal lyrical content, the other prevalent thing in the song is the piano taking the lead. It also does so on the new single “Winter Blues”. The four-and-a-half-minute single is the album’s centrepiece. Incredibly subtle and incredibly beautiful, the song floats in a sombre key, intermittently dotted by Russack’s contemplations, “blame it on the winter blues”. The piano is also showcased on the album’s quieter moments: “Like the Wind”, “Horses” and the album’s stunning finale “Never Before”. 
A few songs into “Winter Blues” and you are struck by its beauty and left aching for more. Is it the content, the songs, or the subject matter that you are longing for? Whatever it is, the album feels a little different. The songs were captured in a different way this time. Emma explains, "for a year, Liam Halliwell, Dylan Young and myself had been going into Phaedra Studios intermittently to record songs that I had written. We would usually record two songs per session and then mix on the same day. All of the songs were recorded live to tape and always in one take. There were no rehearsals and Liam and Dylan would have to learn the songs in the minutes prior to recording them. It was a fast and exciting process. Once again, John Lee engineered, mixed and mastered the album.
In the time between 2017’s “Permanent Vacation” and 2019’s “Winter Blues” Emma has recorded two albums with Lachlan Denton “When It Ends” and “Keep On Trying”. The albums showcase a masterful melding of each of the artists' (and vocalists') signature sounds and song writing style. They also captured an incredible friendship that has had its ups and downs over the past year, yet it has simply grown stronger. Emma has also been travelling, studying and becoming settled in her now long-term hometown of Melbourne in this time. Melbourne is obviously known for its hot summers and at times longer winters, but the title of Russack’s new album might not simply talk about the weather. Emma explains, "Winter Blues is the perfect summary of where I am at in my life: vulnerable, open hearted and at peace with my past”.

Emma Yuzz bursts onto the scene with her EP Clementine, an intimate and emotional offering that fuses soul and R&B with her own authentic style. The EP includes six tracks: four songs (“Goodbye Clementine,” “Confessions,” “Bring me Back,” and “Wild”), an interlude (“Lluna de foc” - ‘Moon of fire’) and an outro (“Me despido” - ‘I say goodbye’), all connected by a deep emotional narrative

Dieser klassische Titel der Dark Folk Truppe EMPYRIUM nun als Gatefold Orange Vinyl inkl. gefütterter Innenhülle und Schutzhülle!

Dieser klassische Titel der Dark Folk Truppe EMPYRIUM nun als Gatefold Gold Vinyl inkl. gefütterter Innenhülle und Schutzhülle!

Die Neuauflage des Vinyls des 2008 erstmals veröffentlichten Sagas Album kommt mit einer auf 500 Einheiten streng limitierten farbigen Auflage als Doppel LP

Known for her lengthy tenure touring and busking with beloved New
Orleans jazz band Tuba Skinny, prolific songwriter and singer Erika Lewis has been churning out American originals all her own for the past several years

From classic country to cosmic Americana to dreamy indie folk, Lewis continues to dip her toes more deeply into an ever- expanding pool of roots music styles. Her new record 'A Walk Around the Sun' is a testament to Lewis' songwriting prowess and exceptional vocal ability. Produced by John James Tourville (The Deslondes), 'A Walk Around the Sun' features 11 all-original songs exploring the gray areas between love and loss, joy and grief, longing and contentment. Though her songwriting shines brightly, it's never at the cost of melody or arrangement; complete with sweeping strings, pedal steel, and even the occasional fuzz of a psych-rock guitar solo, Lewis' voice soars with emotion and texture throughout. Beautifully balanced, adroitly performed, and masterfully produced, 'A Walk Around the Sun' brings Lewis' solo work out from the wings to center stage,
beneath a spotlight nearly impossible to ignore.

Produced by Jonathan Wilson (Dawes, Father John Misty, Conor Oberst), Erin Rae's highly anticipated new album Lighten Up is a timeless amalgam of classic pop, cosmic country and indie rock, recorded earlier this year in California’s Topanga Canyon. Three years have passed since the release of her critically acclaimed debut Putting On Airs, which drew high praise from publications from Rolling Stone to NPR Music. She mostly spent her time on the road, performing at Newport Folk and Red Rocks, sharing stages with Iron & Wine, Jason Isbell, Jenny Lewis, Hiss Golden Messenger and Father John Misty, before her touring came to a sharp halt at the start of the pandemic. The solitude of the road and then the pandemic created space for Rae to undergo a sonic and philosophical shift where she found personal catharsis in creating an album that reflected on her newfound lessons of self acceptance, alongside finding the confidence to offer social commentary on the environment, gender identity and equality. “My last record was a lot of self-assessment and criticism, and trying to kick old habits and ways of relating and not relating to people,” Rae acknowledges. “This one is about blossoming, opening up, and living a little more in the present moment. Fully experiencing what it is to be human.” With a renewed sense of agency, Rae also took a more active role in creating the kaleidoscopic soundscape that became Lighten Up, setting out to reflect a sound she calls, “an emotional pallet, I could get lost in.” Alongside Erin and Jonathan Wilson, who contributed various instruments, the album also features guest appearances from fellow rising star singer songwriters, Meg Duffy, Ny Oh, and Kevin Morby.

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The boundaries between contemporary art music and folk music are pushed as Apneseth and his all-star ensemble invite listeners into their very own musical universe. Hardanger fiddle player Erlend Apneseth, with his distinctive playing style, a long list of critically acclaimed Hubro releases, and explorative musical collaborations, has achieved the rare feat of becoming a favorite among audiences and critics in the worlds of folk music, jazz, and contemporary music. His latest album, Song over Støv, will be released on Hubro on April 4th, and the band he has assembled for the occasion can only be described as a supergroup made up of some of the most influential musicians on today’s Norwegian music scene. The project originated as a commissioned work for Oslo World and Riksscenen in 2023. As a composer, Apneseth has spent recent years working with orchestras and larger ensembles, and after being a member of Frode Haltli’s Avant Folkfor several years, he was inspired to write for a large band himself. For this project, he brought together 11 fantastic musicians, creating an immense musical playground. The commissioned work matured over time before Apneseth took the ensemble into Amper Tone studio in August 2024, with Bård Ingebrigtsen at the controls. Ingebrigtsen also mixed the album, which was produced by Anja Lauvdal and Apneseth himself