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Sub Pop debut by accomplished Greek artist Σtella, produced by Redinho (Swet Shop Boys).
‘Up And Away’ is an eclectic, compelling modern pop album showcasing Σtella’s skilled songwriting and the influence of classic love songs, Greek folk, and contemporary electronic-music production.

Σtella makes her Sub Pop debut with the mesmerizing ‘Up And Away’, an oldschool pop paean to the pangs and raptures of love. From the Greek folkinflected get-go, we’re swept up in Σtella’s world - and it’s quite the captivating place to be.

The singer songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Σtella’s gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it’s clear, from what we hear, they had it in spades. The meld is seamless.

Σtella’s songs have always riffed on American and Greek mid-century pop but ‘Up And Away’ doubles down on the vintage aesthetic. Tom says he styled the record “as if it was a rare gem from the ’60s found in a box of records in Athens,” and Σtella notes she was ready for a more “deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop.” The bouzouki appears on a full five tracks played by Christos Skondras who, she says, “was brilliant at improvising,” while Sofia Labropoulou on the kanun “brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for ‘Up And Away’ - I couldn’t be more grateful.”

While not exclusively a confessional artist, Σtella is always intimate - when she sings, it’s personal. She writes “about things I feel passion for. Stories about me, about others, about all that’s there in love and war.” Σtella was “in a very emotional state at the time, which came through in the lyrics and vocals.” And it’s true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it’s the lyrics that feel key. Across her output, Σtella has proven herself a strong storyteller, and ‘Up And Away’ is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record’s erotic arc.

By the end of the album, ‘Up And Away’s core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can’t always understand or control. Love is like this record: when it’s over, you still feel it for time to come.
Loser Edition LP pressed on blue vinyl.

Frances Castle is the illustrator/owner behind the Clay Pipe record label and The Hardy Tree is her on- going musical project. Common Grounds was started during the first 2020 lock down - when time moved very slowly and travel away from home became impossible.

The album was recorded at home by Frances, then mixed to tape with Ed Deegan at Gizzard Analogue Studios in East London. Ed plays drums on three of the tracks.

“Like many others with nowhere else to go, I walked the streets of my neighbourhood for exercise and well-being. I rambled like I might in the country side; stopping every now and then to take in the view, or notice something I’d missed before. I took to looking up local streets in historical newspapers, and read reports of mysteries and crimes that had happened here in the past. I researched the names of the people who had lived in my flat before me, viewed old census returns from the surrounding area, and noted the birth places and livelihoods of past residents. I began to see the ghosts of these people on my walks, and notice the things that they had left behind; shapes of ancient tram tracks creeping under the tarmac, an old gas street lamp in an alleyway, a tiny metal sign indicating a culverted river. I spent my evenings writing and recording the music on this LP, and then the following day would listen to the rough mixes as I walked, the music began to soundtrack the walks, and the walks began influencing the type of music I was creating.” - Frances Castle, 2022
1. A Garden Square in the Snow 2. The Spire of St Mary's 3. St Saviour's Through the Railings 4. Shop Fronts and Parked Cars 5. The New River Path, August 6. Railway Tracks 7. Mist on the Playing Fields 8. Face at the Window, Seaforth Crescent 9. Up on the Hill

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

This new volume of the Vintage Collection is dedicated to Zouk, the music originating from the French West Indies. Let the sun shine in your stereo!

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

Re-released after being unavailable for 2+ years. Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. This collection gathers tracks from 1966 to 1982, taken from his albums on Discos Fuentes and other labels. They all are extraordinary masterpieces of Colombian popular music. Includes liner notes by Carlos Mario Mojica (Don Alirio).
Andrés Gregorio Landero Guerra, born in 1931 in San Jacinto, Colombia, embodies like no other artist the spirit that made it possible to bring cumbia music to the world. Synonymous with the evolution of this musical genre, inevitably any selection of Landero's best songs cannot aspire to do him full justice.From the very first note he played, Landero managed to charm audiences through a complex weave of compositions, shot through with local nuances and diverse derivations from his native Caribbean province. A torrent of words and refreshingly original, he constantly sought to create his own language while remaining acutely alive to tradition. Driven by a strong personality and undeniable abilities, and solely governed by his desire to follow his musical vocation and write songs that faithfully reflect the stories of his pure native land, Landero left home at seventeen, manifesting his passion to take artistic creation to the limit while demonstrating his belief in freedom and communal living, expressed through the free rein he gives to transparent narratives in all of his songs.
Not one of the records released during Andrés Landero's career is bad, mediocre or dispensable. His coherent and constant efforts to build on the foundations of the cumbia tradition form an extraordinary legacy rich in masterpieces of Colombian popular music. Sixteen years after his death, he continues to be the creative summit of an entourage of names associated with the folk music of the tropics. He is the author of a polyphonic blossoming whose beats still sound fresh today and the outstanding figure through which to appreciate, from a historical perspective, the syncretism of indigenous and African slave music from the Caribbean coast, namely cumbia.

Blue Marbled Vinyl

Green Marbled Vinyl

Picture Vinyl

On December 2013, during Alain Pilot's show “La Bande Passante” and as part of the celebrations for Manu Dibango’s 80th birthday, Radio France Internationale gathered around the African master a bunch of prestigious guests including the Ethio- Jazz ambassadors : Akalé Wubé.

The band decided to play live and on air African Pop Session and Ekedi - both written and recorded by the Cameroonian saxophonist in the early seventies - quickly joined by Manu Dibango and his saxophone. Two live recordings of this session will be taken out this pathbreaking and improvised meeting.

A great complicity shortly settled between them and, a few months later, Akalé Wubé invited Manu Dibango on their track Anbessa (The Lion in Amharic) composed as a tribute to him. This collaboration led them to share several stages together in the following years.
With this RFI session still in mind, Manu Dibango invited the band to join him in studio for Akalé Wubé to arrange and re-record 5 other unknown nuggets from his catalogue : La Colère des Dieux, Du Bush a Bush, Gentlemen de Camp Yabassi, Otetena Munja and Peaceful Homeland.

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words.

Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic.

Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work.

Beginning with the album »Rejoice«, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only 6 months.

Finally, presented here is the second stage of the final triptych; »Speak, You Also«, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work.

A sonic-minded power trio of obsessive, biting riffs and mists of asymmetrical sonic cycles. Inspired as much by French chamber music of the 19th century as by Jim O'Rourke or Moondog, Under The Reefs Orchestra's hypnotic music unleashes a cosmic energy and leads the listener to a trance among underwater volcanos. Guitarist Clement Nourry's gentlemanly demeanor masks the great fiery passion of a true musical virtuoso. "I focus on one thing, and one thing entirely" says Nourry. For him, that one thing is the guitar. Combining the deep theoretically understanding of a skilled mathematician (which he actually is) with a true musician's soulful instinct, Nourry is as comfortable with John Fahey as he is with experimental jazz. To put it simply: he shreds. This trip through the timeless realms of sound can be heard as a soundtrack of the ecological apocalypse we live in. Genry/Style: Post Jazz, Post Rock, Experimental - For those who like Moondog, Comet is coming, Yonatan Gat, ADHD, Kamasi Washington, E. Morricone, Talk Talk (Spirit of Eden), Ryuishi Sakamoto...

Les Bijoux is the sweetest gem you could find, featuring ten melodic, melancholic, très jolie pop chansons. It's a lovingly crafted lo-fi album from a French duo who delicately explore bossa, gyspy jazz and dreampop on a truly memorable debut.

Neil Young + Promise Of The Real release a new live album, ‘Noise & Flowers’, that captures the group in all their glory on their 2019 European tour. The release will be accompanied by a concert film that shares the same title and is included in the album’s 2xLP+CD+Blu-ray Deluxe Edition.
‘Noise & Flowers’ documents a 9-date tour that began just two weeks after Young’s lifetime friend and manager of more than 50 years, Elliot Roberts, passed away at the age of 76. Performing alongside a photograph of Roberts taped to his road case, Young approached each show as a celebratory memorial service to honour his late friend. It’s a trek the legendary singer/songwriter describes as “wondrous.”
In the album’s liner notes, Young says, “Playing in his memory made it one of the most special tours ever. We hit the road and took his great spirit with us into every song. This music belongs to no one. It’s in the air. Every note was played for music’s great friend, Elliot.”
In paying tribute to the manager who guided Young’s career for over a half-century, ‘Noise & Flowers’ explores all corners of his vast discography. It balances all-timer anthems (‘Mr. Soul’, ‘Helpless’, ‘Rockin’ in the Free World’) with rarely aired ‘70s deep cuts (‘Field of Opportunity’, ‘On the Beach’) and ’90s gems (‘From Hank to Hendrix’, ‘Throw Your Hatred Down’). His frequent backing band since 2015, Promise of the Real effectively bridges the extremes in Young’s sound, infusing his raging rockers and country serenades with their casual brilliance and telepathic intuition.
The companion film (directed by Bernard Shakey and dhlovelife) emphasizes both the intimacy and ecstasy of these performances.
‘Noise & Flowers’ is entry No. PS 21 in the Neil Young Archives Performance Series of live releases – a special addition to a robust, and still-growing catalogue.

Picture Vinyl

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

For Fans Of… Dr. John, Allen Toussaint, The Faces, Joe Cocker, Leon Russell, Buddy Miles, The Meters, Father John Misty. "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus." Also Available From Neal Francis: These Are The Days 7”.

Renowned for their distinctive songwriting, unique sound with beautifully
produced recordings, onstage chemistry and electrifying live shows,
European and British blues award nominees the Starlite Campbell Band
are Suzy Starlite and Simon Campbell who fell in love on stage and
married following a whirlwind musical romance
With their fresh taste of original '70s British rock and British blues, the husband
and wife duo have been on an exciting roller-coaster of a musical ride following
the release of their debut album 'Blueberry Pie' to rave reviews worldwide and a
prestigious nomination for Best Album in the European Blues Awards.The band's
exciting and highly anticipated second album 'The Language of Curiosity' is
released on November 5th, 2021 and supported by a European tour.
'The Language of Curiosity' is a collection of stories about different facets of
post- modern real- life experiences from working for the man, attitudes towards
lust, passion and casual sex, space travel, social systems and abuse by power
and money, war and the global refugee crisis, gatekeepers in the music industry,
people giving up and growing old before their time and feel good '70s inspired
British rock and British blues; it's like looking at different sides of a Rubik's cube.
From full-on rock 'n' roll tribal drums, thunderous bass, badass dirty guitar riffs,
drunken echoes of slide and lap steel, melting melodies and vocal harmonies
combined with old school valve guitar amps and analog tape machines, Starlite &
Campbell have a very British sound! With a vibe and feel reminiscent of the mid
'60s to early '70s British rock & British blues; think Peter Green, Faces, Deep
Purple, Led Zeppelin but not like those really... more like Starlite-Campbell!

Quinn Oulton’s debut album ‘Alexithymia’ is a deconstruction of the struggle that many young men face when processing and expressing strong emotions. It takes the form of a linear story, pieced together from many moments of emotional intensity Quinn has faced throughout his life, existing within all types of personal relationships. This is a project that sees the stylistic and textural experimentation from his previous work fuse into a powerfully creative, personal, and emotive sound, channelling the albums title name: ‘Alexithymia’ is the inability to recognize or describe one's own emotions.

The album was written, performed and co-produced by Quinn Oulton, and it includes tracks featuring Moses Boyd and Genevieve Artadi.

“My album ‘Alexithymia’ dissects events from different relationships, whether family, friends, or romantic, presented as a single story from start to finish. Obsession, frustration, passion, false hope, grief, self-pity, helplessness, and acceptance are all part of this story.

I wrote it in this way because I was trying to work out why I connect so much with sad or melancholic music, and I realised that maybe listening to that music was filling a hole that I didn’t know I had. It was comforting to hear somebody process their own troubles outwardly when I didn't feel I had a way, or even a reason, to do so myself. Writing the album has been an extremely therapeutic process as I've been able to seek out difficult parts of my life that I'd buried because I couldn't process them at the time.

I think a lot of people, particularly men, struggle to recognise and process their own emotions. It makes it very hard to share them with others, and it’s something that needs addressing to allow for healthier relationships with other people and yourself.”

This May, Italian alchemists and power trio Ufomammut return with their ninth studio album, Fenice via Neurot Recordings. But not as we’ve heard them before, now “more intimate, more free.”
For over 20 years, the band has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion.
Fenice (meaning Phoenix in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history.
“I think we lost our spontaneity, album after album,” says Urlo. “We tried to make more complicated songs and albums, but I think at some point we just ended up repeating ourselves. With Fenice, we were ready to start from zero, we had no past anymore - so we just wanted to be reborn and rise from the ashes..”
While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. Fenice was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme; synths and experimental vocal effects are featured more prominently than ever before as the band push themselves ever further into the uncharted territory of their very identity.
The towering synths on the opening track ‘Duat’ evoke an almighty machine rising from the depths of primordial ooze. There’s a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. ‘Kepherer’ is a respite, albeit a slight one, returning to the pulsing rhythms of the album’s intro before plunging the listener into the menacing build and release of ‘Psychostasia’ next. Each oscillation of this extraordinary album feels inevitable - Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it’s their uninhibited sense of exploration that breaches new sonic ground.

Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best; by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature - and by writing gargantuan riffs that herald their very rebirth.

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.

Ten years on from a remarkable debut album that traversed genres and put the duo’s trademark melodic mastery on display for the world to see, 2022 sees Spectrasoul’s ‘Delay No More’ album more than deservedly receive its 10 Year Anniversary Repress. Now being pressed to vinyl in it’s entirety for the first time, this milestone release highlights just how in-keeping Spectrasoul’s earliest album was with the forward-thinking, energetic, and beautifully deep ethos that has gone on to define their astounding career in music. 

A diverse, experimental, and genre-bending debut offering, ‘Delay No More’ cemented itself as one of 2012’s finest electronic albums and a Shogun Audio bestseller. Fast forward ten years and the impact of the album on Spectrasoul, Shogun, and the wider electronic music scene is still one of meteoric proportions. 

Receiving mass support from Mixmag, DJ Mag, BBC Radio 1, and countless other press outlets at the time, ‘Delay No More’ went on to be remixed the following year, with the reworked project featuring Calibre’s remix of ‘Away With Me’, a release which has gone it to
become one of the most iconic drum and bass tracks of the past decade. 

Since their emergence in 2006, SpectraSoul have carved a truly unique position, not only in Drum & Bass, but electronic music as a whole. The 10 Year Anniversary Repress of ‘Delay No More’ is not only a celebration of this, but a reminder of the stunning sonic soundscape that the albums alluring, enthralling and irrevocably charming sound still exists in to this day.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we pop, dip and spin into the spring season. As a label owner, Paul’s mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones. Rather than staying too hung up on the past, he continues to focus on serving up the best in new Acid, Electro, Techno, Deep House alongside scintillating slices of Downtempo music.

Sticking to the trusted format of 4 superlative cuts from equally talented producers, the quality and talent on show does not disappoint on WGD 007. Starting the dance with 303 maestro and label legend Tin Man, A1 “I Said Acid” is a tantalising twist on the classic combination of a Roland TR-707 and SH-101. As a metronomic pulsating kick carves out a squarely hewn path, slow opening filtered lead and hauntingly repetitive “Acid” vocals exert maximal pressure to create a sheer moment of joy. Balanced out by the dreamy atmospherics of A2 “I’ll Meet You On The Dancefloor”. UK Deep House supremo Rai Scott exerts her perfected knowhow: blending organically tinged percussion with profound melodic touches that meander across the borderlines of your consciousness.

On B1 “Necessary Order”, the machine mastery of Sound Synthesis collides in perfect harmony as Keith Farrugia demonstrates his deft turns of the dials that are becoming more in demand. A sprinkle of stargazing soul is woven around light touch acidic tweaks and snappy drums, echoing the twinkling embers of the cosmos. Not to be outdone, Dutch born German bred producer Roger Van Lunteren takes control with the final slice on B2 “Le Dee Trois Trio Prends Trois”. A wince inducing, sawtooth heavy jam that should not be taken lightly. As the saying goes, this one’s only for headstrong.

The French crew La Boomerie is back with its second EP produced by Sunaas. Deep dive into its musical Spectrum, produced with Birkenstock on feet and cat on knees for dancefloor and sofa purposes.

DoomCannon presents a meticulously crafted debut album ‘Renaissance’ available on a 12” LP vinyl, CD and digital formats on 15th July 2022. Journeying through an awakening and reimagining of the young Black British experience. Sequentially moving through a rich breadth of soundscapes, ‘Renaissance’ signifies the birth of a new era in DoomCannon’s trajectory. Inspired by an accumulation of experiences over the past four years and defined by significant events like the global pandemic to the worldwide outcry of the Black Lives Matter movement in the summer of 2020.

The album has garnered early support from Gilles Peterson & Tom Ravenscroft at BBC 6Music, Jazz FM, Worldwide FM, NTS, Rinse France, FIP, Radio Nova plus features on Spotify & Apple. Almost 130K combined streams on Spotify alone for his first two singles ‘Amalgamation’ & ’Times (feat. Lex Amor)’.

DoomCannon spearheaded a plethora of forward-thinking, improvised Jazz-inspired outfits (Project Karnak, Triforce) and is the Musical Director of award-winning vocalist, Celeste, performing live at the Brit Awards and Later with Jools Holland. He presented his solo project at Abbey Road Studios & was selected via Jazz Re:freshed as part of the SXSW/ British Council collaboration. Invited to curate sessions at the legendary Ronnie Scotts, DoomCannon is set to hit numerous stages, including his debut headline show at Peckham Audio, the Worldwide Awards, World Island Festival & We Out Here this Spring/Summer.

Jessica Ackerley (Honolulu, Hawaii) and Patrick Shiroishi (Los Angeles, California) are both members of the newly announced super-family-group SSWAN (along with trumpeter Chris Williams, drummer Jason Nazary, and bassist Luke Stewart). Both have prolific outputs and work diligently to push the boundaries of their respective instruments and previous musical ideas.

'Across Water' sees Ackerley and Shiroishi contributing their own unique takes on the ambient sound. Jessica contributes 'I Am Here' and 'The Crevices Between My Heart', each following the collection's theme of water while the guitar and synth work on the second composition gives way to visuals of deep-sea life that can only sustain itself away from the hustle and bustle of crowdedness. Similarly, Patrick is no stranger to straddling the fine lines between subtle and overt emotionality. 'Because You Went There' and 'Leaving It All Behind' are his offerings, seemingly looking up to the sky rather than down ay the ocean, infused by the sweet and smoggy California air.

Repress

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque ‘Eta, Samba Bom’, replacing Roberta Flack’s hit ‘Feel Like Making Love’, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl Ana Mazzotti (1977) will be available on vinyl LP, CD and digitally from 13th September.

Raphael Sas hat ein neues Album aufgenommen. Am titelgebenden Roten Berg im Südwesten Wiens ist er aufgewachsen. Von dort folgen wir ihm, hinaus aus der Vorstadt, denn: Die Welt ist groß und das Leben schön. Die rohe Intimität des Vorgängers Nackerte Lieder ist einem aufgeknöpften, opulenten Pop-Appeal gewichen: elaboriertes Songwriting, geschliffene Sprache mit dezentem Wiener Zungenschlag, eine Band am Punkt und von Produzent Paul Gallister (Wanda) herrlich in Szene gesetzte, vor schönen Ideen sprühende Arrangements.

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







[g] 7. [flowers]

Essential for fans of Celtic Frost, Vader, Obituary and S.O.D - Jungle Rot was founded in 1992 and remain a staple name in the Death metal genre. The band's moniker refers to Jungle rot, an infection of the skin that occurs in tropical climates. New album 'A Call to Arms' sees the first Unique Leader offering emerge with a punishing Dan Swano mix and eerie Voodoo themed artwork - a brutal culmination of the band's past sound melding with a slick, devastating polish bringing them firmly into 2022. A welcome addition to the iron clad ULR roster, JUNGLE ROT have decimated live stages worldwide with Deicide, Goatwhore, Cattle Decapitation, Krisiun, The Black Dahlia Murder, 25 Ta Life, Hate Eternal, Incantation, and Vital Remains, Six Feet Under, Suffocation, Obituary, Broken Hope and Decrepit Birth.

An unapologetic ode to the audacity and playful cynicism of growing up, After The Head Rush emerges like the shadow of a sundial cast between two time zones - one in the past, and one in the present. Infused with belated coming-of-age wisdom it sparks the dawn of a new era - inspired by a move to his hometown and the thrill of rediscovering the music of his youth.

Nach ihrem gefeierten Debütalbum „Heard It In A Past Life“ (2019) ist Maggie Rogers nicht aufzuhalten: Erst die GRAMMY-Nominierung als „Best New Artist“ mit ihrem Debüt, dieses Frühjahr ein umjubelter
Auftritt auf dem amerikanischen Coachella-Festival und jetzt veröffentlicht sie ihr erwartetes, zweites Studioalbum „Surrender“! Co-Produziert von Kid Harpoon (Florence + The Machine, Shawn Mendes, Harry Styles) öffnet die Performerin sich in zwölf intensiven Songs und erzählt von Selbsterlösung, Ehrlichkeit, Wut, der Freiheit loslassen zu können und emotionaler Transzendenz durch Intimität.
Im November diesen Jahres wird sie auf ihrer Europa-Tour drei Konzerte in Deutschland spielen - Berlin, Köln und Hamburg.

For Judah & the Lion, the last two years should’ve been the best of their lives as the Nashville band toured behind a powerful single and a genre-upending album, sharing stages with heroes and playing to oceans of fans. But as everything was coming together for them, singer-guitarist Judah Akers’ family was falling apart in a hail of alcoholism and affairs, death and divorce. From that tension comes Pep Talks, the trio’s third LP, and a hard left turn into deeply personal terrain. Knowing they had something new on their hands, Judah, Brian Macdonald (mandolin), and Nate Zuercher (banjo) took their time crafting a set of songs that not only shores up their one-of-a-kind sound—a heart-pounding whirl of folk, bluegrass, rock, hip-hop, and electronic production— but takes the listener on a bracingly candid, surprisingly anthemic journey from the kind of pain that tears your whole world apart to the sort of hard-won hope that can bridge the deepest of rifts.