quête:nas

Die Grammy-gekrönten Songwriter The Bros. Landreth kehren mit ihrem vierten Studioalbum ,Dog Ear" zurück. Die mehrfach mit dem JUNO Award ausgezeichneten liefern ein herzliches und energiegeladenes Album, das die unbestreitbare Energie dieser Band einfängt. Inspiriert von der Freude und Kameradschaft, die sie während zweier lebhafter Jahre auf Tournee nach der Pandemie erlebt haben, begaben sich die Brüder Joey und Dave Landreth zusammen mit ihren engen Mitarbeitern Roman Clarke, Murray Pulver und Ian Phillips ins Studio. ,Dog Ear" wurde in einer inspirierten fünftägigen Session aufgenommen und ist das bisher fröhlichste und hoffnungsvollste Album der Band, das die Melancholie der Vergangenheit hinter sich lässt und Themen wie Familie, Optimismus und emotionale Resilienz erkundet. Das Album enthält elf emotional bewegende Tracks, darunter Beiträge von Bonnie Raitt, die dem fesselnden ,Half Moon Eyes" ihre ikonische Stimme leiht und ,Knuckles" in ein tiefgründiges Duett verwandelt. Die ebenfalls aus Winnipeg stammende Powerfrau Begonia liefert eine faszinierende Performance zum Albumabschluss ,Strange Dear" und verleiht der Erzählung des Albums zusätzliche Tiefe. Im Kern ist Dog Ear eine ehrliche Auseinandersetzung mit der Frage, was es bedeutet, für die Menschen, die man liebt, immer da zu sein - insbesondere aus der Perspektive der Elternschaft. Songs wie das beschwingte ,I'll Drive", geschrieben zusammen mit Jonathan Singleton aus Nashville, verkörpern unbeschwerte Flucht aus dem Alltag, während das zarte ,Half of Me" die tiefen Verbindungen unterstreicht, die Beziehungen ausmachen. Die herausragenden Songs ,Dog Ear" und ,Vincent" bieten fesselnde Betrachtungen über Stabilität, Freundschaft und persönliches Wachstum, präsentiert mit der für die Bros. typischen geschickten Gitarrenarbeit, melodischen Wärme und lyrischen Aufrichtigkeit. Mit internationaler Anerkennung, JUNO Awards, einem Grammy Award (als Songwriter für Bonnie Raitts Grammy-prämierte Americana-Performance von ,Made Up Mind" aus dem Jahr 2023) und Lob von Kritikern wie Rolling Stone, NPR, American Songwriter und vielen anderen festigen The Bros. Landreth ihren Ruf als Meister ihres Fachs. Ihre energiegeladenen Live-Auftritte begeistern das Publikum weltweit, und mit Dog Ear liefern sie ihr bisher stimmigstes und mitreißendstes Statement.

Limitiertes "26 Highlighter Yellow" Vinyl. Hayley Williams ist eine dreifache GRAMMY-Gewinnerin, Sängerin, Songwriterin und Musikerin, die vor allem als Frontfrau der legendären Rockband Paramore bekannt ist. Nachdem Paramore mehr als 20 Jahre lang ihren Vertrag mit Atlantic Records erfüllt hatten - einen Vertrag, den Williams als Teenager unterzeichnet hatte -, gaben sie im Dezember 2023 bekannt, dass sie nun endlich eine unabhängige Band seien. Diese Überraschungssammlung wird von Hayley Williams auf ihrem neuen Label Post Atlantic selbst veröffentlicht und zeigt sie in ihrer ganzen Bandbreite. Williams hat eine Reihe von verschiedenen Instrumental-Parts geschrieben, gespielt und aufgenommen, wobei langjährige Kollaborateure wie Brian Robert Jones und Joey Howard projektübergreifend mitgewirkt haben und Jim-E Stack bei "True Believer" mitgewirkt hat. "Mirtazapine" ist eine Liebeserklärung an Antidepressiva im Stile des Alternative Rock der späten 90er Jahre, während sie in "Glum" ihre eigene Stimme mit beeindruckenden Effekten durch Vocal-Presets untergräbt, während der Track über Einsamkeit meditiert. Weitere Höhepunkte sind "Whim", ein eingängiger Americana-Ohrwurm, dessen Songwriting an ihre Wurzeln in Nashville anknüpft, und "Ice in My OJ", ein durch und durch moderner Track, der eine scharfe Produktion mit einigen der bis heute bissigsten und humorvollsten Texte von Williams verbindet. Langjährige Paramore-Fans werden den Refrain von "Ice In My OJ" möglicherweise schnell wiedererkennen, da Williams diesen erstmals 2004 auf "Jumping Inside" von den Mammoth City Messengers gesungen hatte. Die Sammlung fängt die ganze Dynamik ein, die Williams bereits im Laufe ihrer Karriere und ihrer Kollaborationen gezeigt hat. Im Kern sind diese Songs das Werk einer äußerst begabten Künstlerin mit einem unersättlichen, genreübergreifenden Appetit auf Musik und kreative Entdeckungen. Diese Songs sind die dritte Veröffentlichung von Williams als Solokünstlerin. In der COVID-Ära veröffentlichte sie zwei außergewöhnliche Alben - ,Petals For Armor" (2020) und ,Flowers for Vases" (2021). Beide Alben waren wunderschöne und eindringliche Meditationen über den Verlust und standen im Kontrast zu der energiegeladenen und temporeichen Kraft, die sie bei Paramore zeigt. ,Das Album - das Verletzlichkeit und transformatives Wachstum verkörpert - offenbart eine reifere und introspektive Seite von Williams", schrieb Pitchfork über ,Petals" und fuhr fort: ,Ihre Stimme ist zweifellos das herausragende Merkmal ... rau und sanft, gefährlich und doch warm", und erklärte, dass die minimalistische Produktion ,dies zu einem bewussten Neuanfang macht".

Tristen stammt aus der lebhaften Roots-Rock-Szene von Nashville, Tennessee, und hat sich in den letzten zwei Jahrzehnten als produktive und vielseitige Musikerin etabliert. Ihr Talent für das Komponieren fesselnder Melodien und scharfsinniger Texte hat ihr hochkarätige Kooperationen eingebracht. Sie war Co-Autorin von ,Love is an Art", dem neuesten Album von Vanessa Carlton, und tourte mit Jenny Lewis als Teil ihrer Band Voyager. Ihr folkiges Debütalbum ,Charlatans at the Garden Gate" aus dem Jahr 2011 brachte ihr das Lob als ,Nashvilles bestgehütetes Geheimnis" (The Boston Globe) ein, während sie sich mit ,CAVES" aus dem Jahr 2013, das von Stephen Hague co-produziert wurde, als hypnotische ,Synth-Pop-Sirene" (SPIN) neu erfand. Sneaker Waves erschien 2017 und markierte ihren Übergang zur vollständigen Produktion ihrer Musik und Musikvideos in ihrem Heimstudio zusammen mit ihrem langjährigen Kollaborateur und Ehemann Buddy Hughen. Rolling Stone beschrieb es als ,Nilsson-würdige Powerballade", während Ann Powers von NPR es als ,voller großartiger Melodien und eingängiger Arrangements, die das Ohr kitzeln und nicht mehr aus dem Kopf gehen" bezeichnete. 2021 erschien Aquatic Flowers, woraufhin Talkhouse verkündete: ,Sie ist eine dieser Songwriterinnen und Performerin, die von anderen Musikern absolut geliebt werden, und das aus gutem Grund. Sie ist eine Risikofreudige im Studio, wagt sich in unbekanntes Terrain vor und findet fast immer etwas, das zumindest interessant und oft unglaublich ist." Ihr fünftes Studioalbum ,Unpopular Music" erscheint im Oktober und enthält Beiträge von Pat Sansone von Wilco, Vanessa Carlton, Becca Mancari, Erin Rae und Natalie Prass. Damit kehrt sie auch endlich wieder auf die Bühne zurück und setzt ihre Karriere fort, in der sie bereits mit Robyn Hitchcock, Television, Ezra Furman und den Mountain Goats aufgetreten ist.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as "awe-inspiring" by Glide, "exuberant" by the Los Angeles Times, and "an exciting milestone" by Pitchfork. As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock"s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

Retinal Rivalry ist der Soundtrack zu Cyprien Gaillards neuem stereoskopischen Film Retinal Rivalry (2024). ,Es ist eine faszinierende Reise durch die deutsche Stadtlandschaft und ihre vielschichtige historische und soziale Bedeutung. Aufbauend auf seiner früheren Erforschung der skulpturalen Qualitäten dreidimensionaler bewegter Bilder geht das Werk über die Grenzen der Leinwand hinaus. Durch die Ausschöpfung des vollen Potenzials modernster Technologie bietet Gaillard eine erweiterte, geschärfte und tief bewegende neue Sicht auf die Welt um uns herum. Retinal Rivalry ist nach dem Phänomen der visuellen Wahrnehmung benannt, das auftritt, wenn das Gehirn zwei widersprüchliche Bilder gleichzeitig empfängt. Anstatt zu einem 3D-Bild zu verschmelzen, wechselt das neuronale System zwischen der Priorisierung des einen Bildes und der Unterdrückung des anderen, was beim Betrachter Verwirrung und Unbehagen hervorruft. Gaillards Film setzt sich mit diesen Komplexitäten der visuellen Verarbeitung und den Grenzen der Technologie auseinander und sammelt visuelle Informationen durch außergewöhnliche, oft augenzwinkernde Aufnahmen, die das Innere und das Äußere, das Eingeschlossene und das Verstreute sowie das Natürliche und das Gebaute miteinander verflechten. Seine Kamera nimmt ungewöhnliche Blickwinkel ein, wechselt von sanften Luftperspektiven zu einem niedrigen Blickwinkel aus der Perspektive eines Nagetiers, zu schwindelerregenden Ein- und Ausblendungen auf der knolligen Nase einer Skulptur oder zu einer langen Einstellung eines Zuges, der durch eine Landschaft fährt, und zieht uns in eine vielschichtige Erfahrung hinein, die zwischen einem schlechten Trip und unerwarteter Schönheit, die Trost spendet, schwankt. In ,Retinal Rivalry" deuten verschiedene Treppen, Spiralen und Aufzüge auf einen Zustand des ständigen Auf- und Abstiegs hin und betonen das Wechselspiel zwischen Distanz und Nähe, abgrundtiefer Tiefe und lebendiger skulpturaler Darstellung. Der Film pulsiert rhythmisch mit Bildern, die anschwellen und sich zusammenziehen, sich aufblähen und entleeren. Er manipuliert das Gefühl der Zuschauer für Tiefe, Maßstab und Textur und lässt vertraute Materialien und Orte unheimlich erscheinen, wobei er die inhärenten Ungenauigkeiten und Verzerrungen der Darstellung hervorhebt. ,Retinal Rivalry" zeichnet die gewöhnliche Welt in großartigen Details auf und versucht dabei, unter die Oberfläche der Dinge zu blicken. Der Film ist eine Darstellung von Raum und Zeit, die Darstellungsweisen destabilisiert und eine neue Hyper-Vision-Version der Realität bietet. Mit 120 Bildern pro Sekunde aufgenommen und mit derselben Geschwindigkeit projiziert - fünfmal so schnell wie im Kino üblich - fängt Gaillard mehr ein, als das menschliche Auge natürlich wahrnehmen kann. Die Filmmusik greift auf verschiedene klangliche Elemente zurück und unterstreicht so die Erforschung von Dissonanz und Synchronität. Indonesische Instrumentalmusik wird überarbeitet und mit Feldaufnahmen von rumpelnden schweren Maschinen und seltsam melodischem Würgen kombiniert. Der Soundtrack enthält auch die ersten Zeilen aus Werner Herzogs Aguirre, der Zorn Gottes (1972) sowie die dazugehörige Ouvertüre der deutschen Band Popol Vuh. Die Klanglandschaft von Retinal Rivalry steht im Kontrast zu den Bildern - was wir sehen, steht oft im Widerspruch zu dem, was wir hören. Nur in einem Abschnitt verschmelzen Ton und Bild: Ein gebrochenes Bein betätigt das Pedal einer interaktiven Orgel, um ein Stück von Johann Sebastian Bach zu spielen, das immer wieder ins Stocken gerät.

At last cv313's magnum opus comes to life in the form of a 3X12" LP set pressed on crystal clear virgin wax with art direction and design by the legendary House Of Traps crew in Edinburgh, Scotland. The original recordings were engineered and mixed down from 1/4" analog tape, then cut and Remastered by Stefan Betke (POLE) at ~Scape Mastering, Berlin, DE. Stefan's sonic wizardry focused on enriching every finite detail and bringing these recordings into a widescreen panoramic audio experience like no other. This edition features never before heard songs emitted from the CD and made exclusively for the LP set including the lost treasure that is: "Beyond The Clouds" (Seconds To Forever Live Mix) culled from the limited Japan edition back in 2011. With the vinyl edition of "Dimensional Space," we embark on a new project for higher understanding into anomalous familiarity. The flow journey in space, through time, combines unconstrained consciousness and uninhibited feeling for evolutionary experiences. The beginning...(Luna Petra") offers a glimpse into the origin of organic nature beyond the cosmos - a land of angel's dreams. Furthermore, "Clouds Beyond (remastered)," consists of unstoppable energy met by "Beyond the Clouds (reprise)," for a descent and deep dive into the sonic abyss. One can venture further towards the seduction of "ISIS," (Reference to NASA's ISIS Satellite Program) breaking through rules and boundaries; sonic art without limits. As we drift closer "Beyond Starlit Skies (re-imagined)," the exploration ceases upon discovery of tropical rhythms and dub-orient mysticism discovered, and once seen before via L'Astrolabe vessel with "Sella Bay." Provocative, enthralling of life form, may this meditative masterpiece bring solace and peace to all those who believe. Timeless in every sense of the word.

"It may surprise some that, after two decades of silent films, when Alam Ara broke the silence in 1931, it and every South Asian talkie that followed was what we in the West think of as a "musical." Music had been integral to the culture's staged drama going back to the Gupta Dynasty — sometime between the 4 th and 6 th Century CE. Since its inception, South Asian cinema drew heavily from Marathi, Parsi, and Bengali musical theatre and silent film screenings were often accompanied by live music to mimic a live staged experience.

When sound films arrived, actors with serious singing skills became the next wave of stars. Songs were performed live while shooting, with musicians hidden off-camera, to the side or sometimes even in trees. Playback singing — the practice of dubbing a real singer's voice over a lip-syncing actor — didn't become standard until the 1940s.

Thus, the biggest stars of the 1930s were also the greatest singers, with some, like Govindrao Tembe and Pankaj Mullick, excelling as both composers and vocalists. None, however, were more beloved than K.L. Saigal, whose emotional, untrained crooning captivated audiences across the subcontinent. Saigal's voice inspired a young Lata Mangeshkar, who vowed to become India's greatest filmi singer to win his heart. Sadly, Saigal grew increasingly addicted to alcohol, unable to perform without it, and passed away at age 42, seven months before the Partition. Lata never married.

This collection features some of the earliest songs from South Asian cinema, sourced from CDs and LPs found in Jackson Heights, Queens, Coney Island Avenue in Brooklyn, Lexington Avenue in Manhattan, and Oak Tree Road in Iselin, New Jersey — areas home to vibrant immigrant communities. South Asian immigration to New York and New Jersey surged after the 1965 Immigration and Nationality Act, which lifted non-European quotas. By the 1990s and 2000s, the region's Indian, Pakistani, and Bangladeshi media outlets flourished, especially in Jackson Heights, where such stores outnumbered the total number of regular record shops throughout the five boroughs.

The nascent period of sound film featured a limited palette of musical styles, predominantly Marathi Bhagveet, like the Ghazal, but with greater flexibility of subject matter and rhythm, and Rabindra Sangeet, the approximately 2,000 songs and poems composed by Bengali Nobel laureate Rabindranath Tagore. But there was some evolution as well, with the success of South Asian cinema's first woman composer, the classically trained Saraswati Devi, and the introduction of Western instruments including the piano and Hawaiian guitar.

While much of the music was dark and brooding, perhaps exemplified best by Devika Rani's interpretation of Saraswati Devi's "Udi Hawa Mein" from 1936's Achhut Kannya (Untouchable Maiden), there were moments of brightness, such as R.C. Boral's "Lachhmi Murat Daras Dikhaye" sung by Kanan Devi in Street Singer, an otherwise thoroughly depressing film from 1938 that cemented Devi's and co-star K.L. Saigal's superstardom.

This selection was chosen to emphasise a range of expressivity, instrumentation and style achieved even within the decade's relatively limited scope, setting the listener up for the relative explosion of possibility in the 1940s, to be covered in the next installment of this series."

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

Kreisch! The Lemonheads kehren mit ihrem ersten Studioalbum mit ausschließlich Originalmaterial seit fast 20 Jahren zurück. Nach Jahren des Schreibens, des Umherziehens und des Neuanfangs sowie der Veröffentlichung der Single "Fear Of Living" kehrt Evan Dando mit 11 Original-Lemonheads-Songs zurück. Seit langem in Arbeit, geprägt von wechselnden geografischen Gegebenheiten, entstanden mit einer Reihe willkommener Gäste, ist es eine kühne, melodische Bestätigung einer der markantesten Stimmen des Alternative Rock. Dandos Wohnsitz in Brasilien, wo ein Großteil des Albums aufgenommen wurde, hat ihm in den letzten Jahren einen ruhigen Perspektivwechsel ermöglicht - eine Chance, sich neu zu orientieren, sich wieder zu verbinden und seine Songs endlich in den Fokus zu rücken. Das Ergebnis ist ein Album, das sowohl frisch als auch vertraut klingt: verwurzelt in den Merkmalen der besten Arbeiten der Lemonheads, aber erweitert durch jahrelange Lebenserfahrung und eine neue Umgebung. Love Chant wurde von dem brasilianischen Multiinstrumentalisten Apollo Nove produziert und bringt alte Freunde und neue Partner zusammen: J Mascis (Dinosaur Jr), Juliana Hatfield und Tom Morgan sind wieder mit an Bord, zusammen mit dem Produzenten Bryce Goggin (Pavement, Antony and the Johnsons), Erin Rae aus Nashville, John Strohm von den Blake Babies und Nick Saloman von The Bevis Frond. Und Adam Green von der New Yorker Kultband The Moldy Peaches ist als Co-Autor an dem lockeren Country-Abstecher "Wild Thing" beteiligt. In den letzten Jahren hat sich der Einfluss von The Lemonheads noch verdeutlicht, Acts wie MJ Lenderman, Courtney Barnett und Waxahatchee haben Dandos Songs gecovert und loben die emotionale Klarheit, den melodischen Instinkt und die ironische Intimität, die seine Texte auszeichnen. Diese generationsübergreifende Resonanz macht Love Chant zu mehr als einer Rückkehr - es ist eine Erinnerung an das, was diese Band in erster Linie ausgemacht hat und jetzt noch um einen späten Höhepunkt erweitert wird. Inklusive der Vorab-Singles "Deep End" und "In The Margin". "The Lemonheads' ability to merge punk rock's energetic simplicity with lush, melodic hooks is both timeless and influential." Pitchfork. CD (Digipak) oder LP (embossed vinyl sleeve artwork)

Kreisch! The Lemonheads kehren mit ihrem ersten Studioalbum mit ausschließlich Originalmaterial seit fast 20 Jahren zurück. Nach Jahren des Schreibens, des Umherziehens und des Neuanfangs sowie der Veröffentlichung der Single "Fear Of Living" kehrt Evan Dando mit 11 Original-Lemonheads-Songs zurück. Seit langem in Arbeit, geprägt von wechselnden geografischen Gegebenheiten, entstanden mit einer Reihe willkommener Gäste, ist es eine kühne, melodische Bestätigung einer der markantesten Stimmen des Alternative Rock. Dandos Wohnsitz in Brasilien, wo ein Großteil des Albums aufgenommen wurde, hat ihm in den letzten Jahren einen ruhigen Perspektivwechsel ermöglicht - eine Chance, sich neu zu orientieren, sich wieder zu verbinden und seine Songs endlich in den Fokus zu rücken. Das Ergebnis ist ein Album, das sowohl frisch als auch vertraut klingt: verwurzelt in den Merkmalen der besten Arbeiten der Lemonheads, aber erweitert durch jahrelange Lebenserfahrung und eine neue Umgebung. Love Chant wurde von dem brasilianischen Multiinstrumentalisten Apollo Nove produziert und bringt alte Freunde und neue Partner zusammen: J Mascis (Dinosaur Jr), Juliana Hatfield und Tom Morgan sind wieder mit an Bord, zusammen mit dem Produzenten Bryce Goggin (Pavement, Antony and the Johnsons), Erin Rae aus Nashville, John Strohm von den Blake Babies und Nick Saloman von The Bevis Frond. Und Adam Green von der New Yorker Kultband The Moldy Peaches ist als Co-Autor an dem lockeren Country-Abstecher "Wild Thing" beteiligt. In den letzten Jahren hat sich der Einfluss von The Lemonheads noch verdeutlicht, Acts wie MJ Lenderman, Courtney Barnett und Waxahatchee haben Dandos Songs gecovert und loben die emotionale Klarheit, den melodischen Instinkt und die ironische Intimität, die seine Texte auszeichnen. Diese generationsübergreifende Resonanz macht Love Chant zu mehr als einer Rückkehr - es ist eine Erinnerung an das, was diese Band in erster Linie ausgemacht hat und jetzt noch um einen späten Höhepunkt erweitert wird. Inklusive der Vorab-Singles "Deep End" und "In The Margin". "The Lemonheads' ability to merge punk rock's energetic simplicity with lush, melodic hooks is both timeless and influential." Pitchfork. CD (Digipak) oder LP (embossed vinyl sleeve artwork)

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

MANU LANVIN, der wohl angesagteste Sänger und Gitarrist der französischen Blues-Szene, veröffentlicht am 24.10.2025 sein neues Album „Man On A Mission“ (GEL Productions/PIAS).
Der Franzose, der es in seiner Karriere mittlerweile auf über 900 Liveshows in ganz Europa und in den USA gebracht, bereits mit Kollegen mit Taj Mahal, Beverly Jo Scott, Johnny Gallagher, Popa Chubby, Paul Personne und Calvin Russell zusammengearbeitet hat und dessen bisherige Album-Releases allesamt den 1. Platz der französischen Blues Charts erreicht haben, präsentiert auf seinem neuen Album „Man On A Mission“ 13 Songs, die den Blues mit Einflüssen aus Rock, Soul und Pop auf moderne Weise interpretieren und die Vielseitigkeit des Musikers und Produzenten MANU LANVIN aufzeigen. Aufgenommen wurde „Man On A Mission“ in Paris, Nashville, Montreal, Fort Lauderdale und Sheffield.

This is the merging hydra of these two dubby-eletronicky-cheeky experimentators.

Jonquera (half of Pilotwings, thrisd of Jeza-Bel and many more) jazzy-poppy-variété rythms crunches Officium dreamy-hazy-bass dubs in a gaze.

These 6 tunes have been recorded live during a jam session, mixed by the duo for a tape project.

But the Tioma Tchoulanov's mastering conviced us to press a small batch of 300 copies.

Paolo Viscogliosi painted some artowrks elements and they enjoyed the layout with Maya Bellemin.

Swindly Cosmic Americana for the boxcar bound. Operating out of a suite in the Roanoke, Virginia Ramada Inn, Tiffin Music Enterprises International was but one of hundreds of gray-market record companies offering dubious services to Nashville aspirants. Cut in three days in 1975, 20-year-old Firebaugh wrote and played every bummed-out note, save a forgotten pedal steel-man. 50th anniversary edition remaster fits snuggly in your private mind garden.

Mariel Buckleys ,Strange Trip Ahead" ist der mit Spannung erwartete Nachfolger ihres für den Polaris Music Prize nominierten Albums ,Everywhere I Used to Be". Auf diesem Album widmet sich Buckley noch stärker dem Alternative-Americana und Indie-Rock, mit klirrenden Akustikklängen, rauer Pedal Steel und ihrem charakteristischen melancholischen Ton. Die Lead-Single ,Vending Machines", produziert von Jarrad K (Ruston Kelly, Wild Rivers), leitet dieses neue Kapitel mit filmischen Details und schwungvollen Rhythmen ein und fängt die Orientierungslosigkeit des Lebens im Wandel mit beeindruckender Ehrlichkeit ein. Buckleys Ruf als scharfsinnige, verletzliche Geschichtenerzählerin wächst weiter, sie hat sich ein treues Publikum in der Americana-, Folk- und Alt-Country-Szene erarbeitet. Zu ihren Tourneen gehören Support-Slots für Orville Peck, The Bros. Landreth und k.d. lang sowie Auftritte bei SXSW, AmericanaFest und dem Philadelphia Folk Festival, die ihre Position in der modernen Roots-Landschaft festigen. Strange Trip Ahead ist Buckley in ihrer kühnsten Form - roh, echt und ohne Angst, Genregrenzen zu verwischen. Vom Pedal-Steel-Hook von ,Vending Machines" bis zum kraftvollen Album-Closer ,Anvil" bringen ihre geerdete Stimme und ihr exzentrischer Charme frische Energie in die zeitgenössische Americana. Es ist ein überzeugender Schritt nach vorne von einer Songwriterin, die sich still und leise zu einer der angesehensten Stimmen der kanadischen Roots-Musik entwickelt hat.

"Taking influence from the pioneers of Música Popular Brasileira, Wolfgang Pérez has crafted an exquisite album of summery experimental pop music that encapsulates the beauty and chaos of modern Brazil. A must-listen for fans of Tom Zé, Gilberto Gil, Kiko Dinucci, Negro Leo, Ricardo Dias Gomes, and João Gilberto.

Genre-blending songwriter, arranger, and guitarist Wolfgang Pérez is set to release his highly anticipated new album Só Ouço in July 2025 on Hive Mind. Known for his unique fusion of influences, the German-Spanish artist first captured attention with his 2021 debut WHO CARES WHO CARES (Fun In The Church), followed by the critically acclaimed Spanish-language album AHORA (BAUMUSIK, 2024).

Só Ouço is the fruit of an 18-month creative residency in Rio de Janeiro, where Pérez collaborated with a group of young Brazilian musicians. Deeply inspired by the city's sounds and rhythms, the album marks an exciting chapter in Pérez’s evolving artistic journey.

In 2022, Wolfgang Pérez arrived in Rio de Janeiro on a university exchange to study composition, and quickly found himself immersed in the city’s rich musical landscape. Introduced early on to Rio icons like Thiago Nassif, Arto Lindsay, and Ana Frango Elétrico, what began as a semester turned into a transformative three-semester stay. Pérez absorbed the city's contrasts - it's beauty, its people, it's chaos and violence, all it's contradictions and life - while deeply studying Brazilian music at UFRJ/UNIRIO under the guidance of masters Josimar Carneiro, Marcello Gonçalves and Almir Cortes.

Wolfgang spent the first 6 months or so soaking in as much as possible, going to shows, to the baile funk parties, walking the streets, hiking the mountains in and around Rio, listening to music, making friends, learning where to go and where not to, learning the language, learning the slang, incorporating the culture. He used the time to forget himself in the vibrance of the city.

After this the band came together through a series of chance encounters and happy accidents...some loose jam sessions led to shows around Rio, where Wolfgang, alongside Luis Magalhães (bass), Pedro Fonte (drums) and Paulo Emmery (electric guitar), started to flesh out some of Wolfgang's compositions. At a show at Audio Rebel they met Angelo Wolf (owner of Wolf Estúdio and engineer for artists such as Bala Desejo, Dora Morelenbaum, Zé Ibarra, Marcos Valle, Antonio Neves and Ana Frango Elétrico); moved by the music, Wolf offered Pérez residency and studio time at Wolf Estúdio, providing the foundation for Só Ouço. Angelo was a catalyst for the production of Só Ouço, his openness and generosity helping to shape the sound of the record. Carol Maia, a young guitarist, lyricist and singer brought a sensitivity and tenderness to the songs, while Antonio Neves helped to pull together the brass and woodwind players who would complete the lush sound of the album.

Meticulously arranged, and beautifully composed, Só Ouço is a joy to listen to and surprising at every turn. Classic songwriting and cutting edge production blend to produce an album that is by turns tender and gentle, abrasive and unsettling, a joyful celebration of life in all its complexity."

"Prudência / Praga", or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in Sao Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelao canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. "Prudência" is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that "Prudência" was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. "Praga" also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to "Clube da Esquina," her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings "BIBIDA" in her recording of the song_a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of "Prudência" came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s' program "Ensaio" (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom_time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. "Prudence? Don't talk to me about prudence!" ;) Tim Bernardes, 2025

LA-based producer Real Bad Man and Michigan rapper Willie the Kid release their new collaborative album, Midnight, via the producer’s own Real Bad Man Records label. The album, which marks the producer’s second collaborative project of the year following Dear Psilocybin with ZelooperZ, includes guest appearances from UK rapper Sonnyjim, New York’s Lord Sko and frequent RBM collaborator Boldy James, who will be releasing his own Real Bad Man-produced album in May.

The album came together naturally for the pair, letting each new song inform the identity of the project as a whole. Speaking about how they identified that central theme of the album, Willie says, “I think where Adam and I agreed upon is that the stand out records were all themes for the night, late night drive, after hours dinners, shopping, private rooftop hotel suites, it’s a thinking album, a cruising album preferably enjoyed at night…midnight””

Midnight marks the early stages of what’s shaping up to be a prolific run of collaborations for Real Bad Man in 2025. His second album of the year builds off of the momentum he sparked last month with his first full-length album with ZelooperZ, Dear Psilocybin, which The FADER called “clear-eyed and focused in its own fantastical way”. Working as a duo with the dynamic lyricism of Willie the Kid after the psychedelic sounds of Dear Psilocybin, Real Bad Man returns to the essential underground beatmaking that he first emerged onto the scene with through his On High Alert series. His crackling, lo-fi production pairs perfectly with Willie’s gritty delivery, laying a foundation for the longtime lyrical stylist who has worked alongside some of the genre’s modern heroes including Nas, Lil Wayne, The Alchemist, Roc Marciano, Curren$y and more.

Listen to Midnight above, see below for more details on Midnight and stay tuned for more from Real Bad Man coming soon

Mr Sam - HERITAGE (1995-2025)

HERITAGE celebrates 30 years of Mr Sam's career in a world-first collector's edition: a monumental best-of gathering 40 tracks across 10 vinyls. Never before has an electronic DJ and producer released such a project - an unprecedented box set that stands as a unique, sincere and intimate journey, blending emotion, innovation and musical memory.

Each track has been carefully selected, remastered, and placed as part of a personal narrative. More than just a compilation, HERITAGE is a musical journey - the story of an artist who has shaped the trance and progressive scene worldwide since 1995, and who continues to write history, with this release sealing his legacy forever.

The album features his most iconic productions (Lotus, the Screen series, Forever Waiting, Lyteo...) alongside timeless contributions from artists who influenced a generation, including D*Note, Timo Maas, Jam & Spoon...

This is more than a retrospective - with HERITAGE, Mr Sam permanently engraves his legacy in the history of electronic music.

Indian Summer of Love finds The Bongolian immersed in a new set of sounds and influences for a new Belle Epoch. It’s a musical landscape informed by the Sixties psychedelia of India via a Haight Ashbury happening.

It’s a kaleidoscopic vision that takes us from a 20th century Fin de Siècle and lands us in the here and now of the 21st Century. It’s for dancers, for seekers and is all underscored by The Bongolian’s trademark heavy rhythms and breaks. It’s another fine instalment of essential cuts for the dancefloor and for high fidelity listening, quality is guaranteed.

From the East to the West, welcome to the Indian Summer of Love. Nasser Bouzida performs drums, percussion, guitars and keys whilst the album features several new flavours to the Bongolian sound with the prominent instrumentation of sitars and bansuri, along with flute, trumpet, saxophone and trombone performances from several stellular international guest musicians.

In 2005, when they formed Cotonete, the Parisian musicians secretly dreamed of playing 70s Brazilian funk in Brazil. Having become specialists in the style, the dream became a reality 12 years later thanks to Brazilian singer and actress Simone Mazzer (awarded Newcomer of the Year), who decided to hire the Parisian group to record her second album.
The engagement quickly turned into a collaboration, with Cotonete taking part in the selection of the repertoire, the arrangements, and the production of the album. It was prepared and recorded in Paris at Studio Prado in July 2016. It would be mixed and released in Brazil in 2017.
And so, Simone finally invited Cotonete to come and set foot on Brazilian soil. Five concerts, including two wonderful ones at the SESC Copacabana in Rio, were organized for the album's release. It was during this tour that the band met singer Di Mélo, with whom they recorded the album "Atemporel" in Sao Paulo, featuring the track "A.E.I.O.U."

Nearly 10 years after its recording, the album "Simone Mazzer & Cotonete" is finally being reissued on vinyl on Prado Records. It has been remixed for the occasion by Fabien Girard.
Simone Mazzer will be in France in September 2025 and performing at the Studio de l'Ermitage on September 19th for the official vinyl release.

,Push pull/ Side to side/ This way/ That way/ Can't decide/ Pressure! Pushing in/ Flattened me out from end to end", singt Blair Tramel in ,Worldwide", dem Titelsong aus dem neuen Album von Snooper. Der Song fängt die schwindelerregende Stimmung der Band während ihres rasanten Aufstiegs vom DIY-Circuit in Nashville zu weltweiten Tourneen und Bekanntheit in den entlegensten Ecken der Untergrund-Musikszene ein. Aber obwohl die Band den Druck spürte - der Song ist teilweise von YouTube-Videos über hydraulische Pressen inspiriert -, waren alle Herausforderungen eine Chance für Veränderung. ,Worldwide" ist ein Leitbild für das Album, nicht nur thematisch, sondern auch ästhetisch, und zeigt Snoopers stilistische Experimentierfreudigkeit. Neu inspiriert von elektronischer Musik, ist der Rhythmus von ,Worldwide" unerbittlich und mechanisch - er fängt das rasende Tempo ein, in dem Snoopers Leben verlief, lässt aber durch Tramels Schreie und Connor Cummins' dreckigen Gitarrenbreaks. ,Worldwide" führt uns in das nächste Kapitel von Snooper ein - persönlicher, kathartischer, schärfer, mutiger, eingängiger. ,Es gibt einen Sweet Spot", sagt Tramel über die Entwicklung, die sich aus Snoopers turbulenter Erfahrung in den letzten Jahren ergeben hat. ,Für einen Moment schaffen Push und Pull diesen wunderschönen Tanz."

,Push pull/ Side to side/ This way/ That way/ Can't decide/ Pressure! Pushing in/ Flattened me out from end to end", singt Blair Tramel in ,Worldwide", dem Titelsong aus dem neuen Album von Snooper. Der Song fängt die schwindelerregende Stimmung der Band während ihres rasanten Aufstiegs vom DIY-Circuit in Nashville zu weltweiten Tourneen und Bekanntheit in den entlegensten Ecken der Untergrund-Musikszene ein. Aber obwohl die Band den Druck spürte - der Song ist teilweise von YouTube-Videos über hydraulische Pressen inspiriert -, waren alle Herausforderungen eine Chance für Veränderung. ,Worldwide" ist ein Leitbild für das Album, nicht nur thematisch, sondern auch ästhetisch, und zeigt Snoopers stilistische Experimentierfreudigkeit. Neu inspiriert von elektronischer Musik, ist der Rhythmus von ,Worldwide" unerbittlich und mechanisch - er fängt das rasende Tempo ein, in dem Snoopers Leben verlief, lässt aber durch Tramels Schreie und Connor Cummins' dreckigen Gitarrenbreaks. ,Worldwide" führt uns in das nächste Kapitel von Snooper ein - persönlicher, kathartischer, schärfer, mutiger, eingängiger. ,Es gibt einen Sweet Spot", sagt Tramel über die Entwicklung, die sich aus Snoopers turbulenter Erfahrung in den letzten Jahren ergeben hat. ,Für einen Moment schaffen Push und Pull diesen wunderschönen Tanz."

Berlin musician and DJ Nastia Reigel presents her debut solo album, Identity, on Function's legendary Infrastructure New York imprint. Following a constant output of EPs on heavy-hitting techno labels like fabric, Rodhad's WSNWG and Token, and playing regularly at the likes of Berghain, Reigel now returns with new music that pushes deep into the core of her craft. She has honed and sharpened her sound into something sleeker and more uninhibited. Identity embodies the core of Nastia's production DNA, showcasing her as a powerful and precise engineer. These eight new tracks, mixed by herself, all offer something distinct and carry her unmistakable signature. Much like human identity itself, the album explores contrasting layers of tension, groove and mood, oscillating from hypnotic rollers to peak time intensity with ease. It is both a personal artistic statement and a DJ-ready techno toolkit for fans of Function and Sandwell District.

The downtempo legacy of Tosca continues. Originally released in 2005, J.A.C. is the fourth studio album by the Austrian duo - an album dedicated to their then newly born sons, "Joshua, Arthur, Conrad". For its 20th anniversary, which also marks !K7"s 40th anniversary, it has been fully remastered and compiled into a beautiful gatefold 2LP. Between the release of their classic Dehli 9 and J.A.C., the two entered fatherhood. As all Tosca albums relate to biographic events in the life of Huber and Dorfmeister, the birth of their sons naturally called for an album dedication. J.A.C. is perhaps the most consistent formulation of both, the carefree and melancholic sound of Tosca.

Since their reunion in 2015, Malka Family has been enchanting stages once again and releasing fabulous albums. Le Retour Du Kif (2018) and SuperLune (2022), featuring almost all of the original musicians, have marked their comeback.
Today, Planète Claire, a 16 tracks album, is undoubtedly one of Malka Family’s best works.
It was urgent for the great Funk families to return and give the new generations a lesson of kif…
Back to the Roots

In 1987, after organizing the Chez Roger Boîte Funk parties with Dee Nasty and Actuel/Radio Nova, Joseph Mannix and Isaac Ben Araz (then guitarist and trombonist of the group Human Spirit) decided to create a French-style Funk band.
The group quickly became one of the most spectacular live sensations of the 1990s.
Their self-produced debut album, Malka On The Beach, was released in 1991. Both the press and the public went crazy for these little funkateers, leading to a series of non-stop tours. Their concerts—wild, costumed performances—drew massive crowds. Warner France took notice and signed them.

Their second album, Tous Des Ouf (WEA), a true Space Opera P-Funk featuring guests like Sidney (Hip-Hop), Dee Nasty, Marco Prince (FFF), Juan Rozoff, and more, was released in 1992.

After touring the world multiple times, the band became independent again in 1995 and recorded an EP for Big Cheese Records: Fricassé De Funk.

By the late ‘90s, the rise of DJs and electronic music signaled the decline of large live bands. Due to its logistical weight—the band had over 14 members on their last tour—Malka Family was forced to part ways in 1997 after touring for their album Fotoukonkass (RCA/BMG).

But that was without counting on the resilience and extraordinary freshness of these Funk performers…

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Ballads of the Broken war das Major-Label-Debütalbum des amerikanischen Rappers Jelly Roll, das am 17.
September 2021 über Bailee & Buddy und BBR Music Group veröffentlicht wurde. Es enthält die Singles
„Dead Man Walking“, die Platz eins der US Mainstream Rock Charts erreichte, und „Son of a Sinner“, das
die Top 40 der US Billboard Hot 100 und Platz eins der Country Airplay Charts erreichte. Der Erfolg von
„Son of a Sinner“, einem der wenigen Nashville-Country-beeinflussten Songs auf dem Album, inspirierte
Jelly Roll, für sein folgendes Album Whitsitt Chapel (2023) ganz auf Country-Sound zu setzen.