Buscar:precious

On his new album All Cylinders, Yves Jarvis expresses a brazen songcraft and pure musicianship. 11 tracks he played himself, without a single additional contributor, transforming his now four-time-Polaris-nominated vision into the stuff of verses and choruses, hooks and hits, vibrating like a cosmic anthropology. Whereas once he had fetishized analog tape, now Jarvis appreciated the value of working without any such preciousness: much of All Cylinders was recorded on bare-bones Audacity, sans plugins, channeling the spirit of Paul McCartney’s II.

Jarvis is an omnivore, and All Cylinders smashes together a stunning array of influences: Serge Gainsbourg, Judee Sill, Sheryl Crow, Captain Beefheart, Jackson Browne, Throbbing Gristle, Ray Charles, Brian Eno, Fleetwood Mac… All distilled into tunes that feel like taking sips from a cup, or drags from a cigarette. Vivid and self-contained songs that are just two or three minutes long. “I feel like this is the least contrived thing I’ve ever done,” Jarvis declares. Lyrics that matter. Vocals up front, where people will actually hear them. “If something’s true to you,” he explains, “it’s probably true to a million other people.”

The first run of All Cylinders on limited edition vinyl sold out, leading to this highly anticipated second pressing. This edition includes 4 bonus tracks from the forthcoming deluxe release, making it an essential piece for fans and collectors alike. Originally released via In Real Life to critical acclaim from Pitchfork, Financial Times, NPR, Aquarium Drunkard, Far Out Magazine, New Noise, Out Front, KCRW, RANGE, Atwood Magazine, The Luna Collective, Billboard Canada, The Fader, Blamo! Podcast, Stereogum, and Guitar World.

Seeking overlooked beauty and prizing reflection in a distracted world, Hammock creates cinematic music for the road less traveled. In stirring works of shimmering post-rock ambience that swell with hope and melancholic nostalgia, the Nashville-based duo of Marc Byrd and Andrew Thompson immerse listeners in living visions of moments long past, animating life's fond remembrances and scarring losses with gentle lens-flare harmonics, heart-surging neoclassical drama, and pensive silence. A direct challenge to the passive existence of modern life, where everything can be experienced but precious little is felt, Hammock demands, and richly rewards, patience and contemplation. One of Hammock's career defining works, the Mysterium, Universalis, and Silencia trilogy came to a close in 2019. The first chapter, Mysterium, was written following the death of Byrd's 20-year-old nephew and dealt with incomprehensible, shattering loss. Difficult understanding came on Universalis, and an altered reality understood through quiet reflection took hold on Silencia. Emerging from the silence, a period that brought with it the global pandemic of Covid-19 that has kept loved ones apart, conscripted months upon months of isolation, and roused directionless longing for escape, Hammock presents Elsewhere. Recorded by Byrd and Thompson at their homes, apart and with minimal equipment, Elsewhere serves as a gateway to another place, materializes feelings of separation and loss without closure, and calls listeners back to live their lives - not spend them longing to be something or somewhere else. - Wyatt Marshal

Amoul Bayi Records continues its mission of discovering and showcasing West African artists. After introducing talents such as Daba Makourejah and Saah Karim, the Dakar-based label returns with a new release from one of the most soulful
voices in Gambian reggae: Royal Philosopher.

"Thank You Jah" is a song of gratitude, carried by the emotive and distinctive voice of Royal Philosopher. With humility, he expresses his thankfulness for the talent he has received, the path he has walked, and the strength that has guided him along the way.

Built on a dynamic Digi Roots riddim produced by Yared and mixed by Rootical45, the track provides the perfect space for his voice to shine. The refrain – “Thank you Jah for giving I talent” – echoes like a personal prayer and a universal message, able to resonate beyond belief systems.

Royal Philosopher is a Gambian singer whose powerful and precious voice is shaped by spirituality, African heritage, and musical commitment.

Born in Banjul, he first discovered his vocal gift in a church choir, where he developed a heartfelt and sincere expression. He fell in love with reggae through the voice of Garnett Silk, whose intensity and devotion deeply influenced his path. He began his journey with the group The Royal Family, before pursuing a solo career, releasing music with consistency and authenticity.

Today, he presents "Thank You Jah", a single produced by Amoul Bayi Records, imbued with gratitude and faith, true to his artistic vision: sincere, elevated, and deeply connected.

Designed both for turntables and streaming platforms, the single will be released in digital format and on 7" vinyl. The artwork is by renowned Senegalese graffiti artist King Mow.

Der offizielle Soundtrack zu "Frieren: Beyond Journey's End" von Evan Call ist jetzt als Doppel-Vinyl erhältlich. Diese exklusive 2-LP-Ausgabe bringt die emotionalen Höhepunkte von Frierens Reise auf den Plattenteller - eine Reise voller Freundschaft, Verbundenheit und der Kostbarkeit gemeinsamer Zeit. Die zwei coloured LPs (in Smaragdgrün und Kobaltblau) kommen in einem liebevoll designten Gatefold und mit einem Insert mit Original-Illustrationen. Ein Must-Have für alle, die Frieren, Himmel, Heiter und Stark ins Herz geschlossen haben.

This studio collaboration between the French Dub pioneers and the famous Dub kids from Lyon seems to have been really prolific in terms of quality and quantity. All along these tracks, you can hear a successful hybridization between two major dub bands. The steppa rythms are mixing themselves with the ethnic ambiances of scratches, synths and drum rolls so precious for High Tone. Try to recognise which sound comes from which band on this album made of improvisations with electronic breaks and floating atmosphere.. To make it short, an awesome meeting displaying its devastating effects.

We are talking Holy Grail territory…

Edwin Starr and JJ Barnes were two of the main stars at Ric-Tic, the legendary 1960s Detroit Soul label that ended up being purchased by Motown to take out the competition.

JJ Barnes REAL HUMDINGER Ric-Tic 45 is a standout gem from the Motor City’s Soul heyday years and an all time Northern Soul classic. Edwin’s Ric-Tic 45s and subsequent gems for Motown made him such a Northern Soul icon that he moved to live in England.

What Anglophile Edwin never revealed is that he actually recorded the first version of REAL HUMDINGER for Ric-Tic. It never got released and its’ very existence was unknown. After painstaking detective work WEST GRAND found about the recording and have now managed to licence it from Universal Music / Motown for its debut worldwide release News of the discovery has created huge interest amongst Soul fans globally, As a bonus the flip side is another “wow find” that had been stuck, also unknown and unloved, in the tape vaults for nearly 60 years. It is a preciously unused alternative take on SCOTT’S ON SWINGERS.

The track is in effect an extended jingle for Detroit back in the day star radio DJ Scott Regan based on Edwin’s smash S.O.S (Stop Her On Sight). The released take came out on a limited edition RIC-Tic giveaway single that now commands a £400 price tag.

The Bathers' 1999 album Pandemonia is re-released by Last Night From Glasgow - Pressed on two shades of vinyl and CD.

"Is Glasgow the most romantic city on earth? The work of the Bathers can make you believe so. Kisses on tenement stairwells, Kelvingrove girls. It's the music of those Glasgow evenings where the elusive sun can make a late appearance on the red sandstone tenements and suddenly that tough old imperial city feels like the perfect place to fall in love. And The Bathers provide the soundtrack."

Featuring guest appearances from Belle & Sebastian's Isobel Campbell and Richard Colburn. Also Catherine Leroy, Mario Caribe, Neil Cameron and Bather regulars...Callum McNair, Hazel Morrison, Robert Henderson, Barry Overstreet & Iain White.

This 15-track project cements BigXThaPlug's status as one of hip-hop's most authentic and compelling voices. Executively produced by Bandplay—the mastermind behind "The Largest"—alongside longtime collaborators Tony Coles, Charley Cooks and others, Take Care offers a raw and unfiltered reflection of BigXThaPlug's rise to stardom. The album showcases his electrifying energy while exploring new sonic territories, all while remaining true to his signature sound.

BigXThaPlug's artistic evolution is evident in his lyricism, a masterful blend of melodic instrumentation and commanding beats. Drawing inspiration from the sounds of '70s and '80s hip hop, Take Care features a powerful tracklist that includes viral sensations "Mmhmm,” and “Change Me,” along with fresh tracks like "Lost The Love," "2AM," and "The Story of X." Throughout the project, he crafts an innermost narrative that speaks to his journey, proving that success hasn't clouded his vision or altered his core values.

The album announcement arrives with a compelling trailer and the launch of pre-orders, igniting anticipation among BigXThaPlug's devoted fanbase. Masterfully directed by creative director TreySoulss, the intimate trailer features his grandmother's voice guiding viewers through precious family footage and pivotal moments, revealing the forces that shaped his meteoric rise. This project not only promises to further establish him as a leading voice in hip-hop's new generation but serves as testament that his success is no fleeting moment—it's the foundation of an enduring legacy.

The strength of Fan Club Orchestra's (FCO) trajectory lies in their nebulous, collaborative, and experimental nature, always with Laurent Baudoux at the centre. With its roots in the DIY impulses of the Brussels art and music scene of the late nineties, Baudoux rallied together a revolving cast of players with an unconventional ensemble of instruments to explore melancholic psychedelia that touched on drone and minimalism as readily as it carved minor pop hits from cracked electronics. Performances were often highly improvisational, aided by the barely controlled chaos that guest collaborators—such as American artist Mike Kelley—would inject into an appearance.

FCO self-released two albums in the early 2000s before finding a home with Sonig, where they released several more records up until their last with the label in 2013. This was a fitting frame as Sonig, like FCO, channelled the fervour and formalism of the experimental music history of the Rhineland, which includes Kraftwerk, krautrock, and key early electronic music studios.

Following an eleven year hiatus, Laurent Baudoux reassembled the group in 2024 and presented a new album with the esteemed Glaswegian label 12th Isle late in that same year. Building on the strength of the new iteration, and with the aim of reappraising some of the rich yet oblique history of the group through this new lens, FCO have remastered and reissued their 2013 album, 'An Insane Portrait'.

The recordings were originally commissioned in 2009 for Fabrizio Terranova's film 'Josée Andrei, An Insane Portrait' about the truly remarkable figure Josée Andrei. Shot in San Francisco, the film is an intimate portrait of Andre. Blind from birth, she is a witch, painter, photographer, tarot reader, and psychology and modern literature graduate.

'An Insane Portrait' captures a stripped-back FCO, with Baudoux working solely with original FCO member Ann Appermans. The configuration of Baudoux's electronics and Appermans' bass guitar yield a tender and preciously melodic suite of instrumentals.

Originally released on vinyl by Sonig in 2013, the remaster will again be presented by the label in a limited cassette edition and in digital formats, each featuring a bonus track that was not included in its original release.

The strength of Fan Club Orchestra's (FCO) trajectory lies in their nebulous, collaborative, and experimental nature, always with Laurent Baudoux at the centre. With its roots in the DIY impulses of the Brussels art and music scene of the late nineties, Baudoux rallied together a revolving cast of players with an unconventional ensemble of instruments to explore melancholic psychedelia that touched on drone and minimalism as readily as it carved minor pop hits from cracked electronics. Performances were often highly improvisational, aided by the barely controlled chaos that guest collaborators—such as American artist Mike Kelley—would inject into an appearance.

FCO self-released two albums in the early 2000s before finding a home with Sonig, where they released several more records up until their last with the label in 2013. This was a fitting frame as Sonig, like FCO, channelled the fervour and formalism of the experimental music history of the Rhineland, which includes Kraftwerk, krautrock, and key early electronic music studios.

Following an eleven year hiatus, Laurent Baudoux reassembled the group in 2024 and presented a new album with the esteemed Glaswegian label 12th Isle late in that same year. Building on the strength of the new iteration, and with the aim of reappraising some of the rich yet oblique history of the group through this new lens, FCO have remastered and reissued their 2013 album, 'An Insane Portrait'.

The recordings were originally commissioned in 2009 for Fabrizio Terranova's film 'Josée Andrei, An Insane Portrait' about the truly remarkable figure Josée Andrei. Shot in San Francisco, the film is an intimate portrait of Andre. Blind from birth, she is a witch, painter, photographer, tarot reader, and psychology and modern literature graduate.

'An Insane Portrait' captures a stripped-back FCO, with Baudoux working solely with original FCO member Ann Appermans. The configuration of Baudoux's electronics and Appermans' bass guitar yield a tender and preciously melodic suite of instrumentals.

Originally released on vinyl by Sonig in 2013, the remaster will again be presented by the label in a limited cassette edition and in digital formats, each featuring a bonus track that was not included in its original release.

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

During a month living with the Wampís in the Amazon Rainforest, Aboutface and the Wampís community collaboratively captured field recordings, music instrumentation and traditional Wampis Nampets – ancient songs sung from the perspective of animals living in their rainforest environment.

These recordings then informed 4 improvised performances to articulate the story of the 4 Nampet songs from within each animal's habitat, to depict nature and culture as inseparable, and to propose that humanity is not exclusive to humans but a multinaturalist characteristic available to all living organisms.

This is the first project of its kind in Wampís history and contains sound recordings of biodiversity that no longer exist due to deforestation.

Indigenous-managed Amazonian rainforests sequester around 340 million tonnes of CO₂ each year—equivalent to the UK’s annual fossil fuel emissions. In stark contrast, non-Indigenous-controlled forests have become sources of carbon emissions, therefore accelerating our global climate crises. Among the vital custodians of these precious ecosystems are the Wampís people, who protect 1.3 m ha of precious rainforest territory currently being decimated by mining for gold. This devastating practice is currently decimating Wampís territory, destroying their river habitats, leaving toxic methylmercury pollution that strips all biodiversity, contaminates the food chain, and causes widespread harm.

100% of all sales revenues from this release will directly go to the Wampís to protect their rainforest territory, to fund Wampís-led eco-initiatives against illegal mining, alongside ways to preserve Wampís cultural heritage– embedded in their songs, art and crafts, central to their conservation of their territory called The Iña Wampisti Nunke: A system of life that encompasses reciprocal relationships between humans, plants, animals, and spirits, central to the harmony of all its multi-dimensional ecology– which they term Tarimat Pujut.

For more project information, a short essay is provided alongside a nonstop-listening version of the album as part of the free Bandcamp download with every LP.


Credits

Nampet songs
Kutir, Wancha and Pinchichi by Elizabeth Huampankit Najamtai.
Manchi by Fernando Ijisam Tsakim.

Acoustic Percussion by Wampís band Guayabita
Fernando Ijisam Tsakim, Edilberto Ijisam Tello, Larry Tello Huampankit, Jose Luis Cahuata Pipa, Tedy Tello Cahuata, Heyner Tello Cahuata, Eli Artista Antonio, Never Tello Huampankit

Violin by Taro.

Peruvian bamboo quena, classical flute, acoustic guitar, electronics, composition and arrangement by Aboutface.

Original portrait painting of Fernando Ijisam Tsakim by Nyran Loomcal.
All other artworks, analogue photography and design by Aboutface.

Rainforest field recordings identified and collected by The Wampís of Guayabal and Aboutface.

o encapsulate the themes. “Aseurai means around you in the atmosphere, hard to reach, fading away,” Choi says. “It’s a poetic expression. You wouldn’t say it in normal conversation, but I like that.”

Following the four-piece band’s 2024 self-titled EP, Aseurai adds disco and city-pop influences while staying true to dream-pop roots. While Phoebe Rings was originally a solo project of Choi’s, Aseurai marks a shift with contributing songwriting credits from the whole band. The four musicians cut their teeth working on other notable NZ projects such as Princess Chelsea, Fazerdaze, Tiny Ruins, AC Freazy,, Sea Views and Lucky Boy.

With a more ambitious collection of instruments, Choi says this album heralds the start of true collaboration: “I feel more precious about this LP because it includes everyone’s gems.” Guitar/synthesist Simeon Kavanagh-Vincent spearheads unexpected arrangements, with bold fuzzy guitar textures, to spice up the mix. Benjamin Locke adds maturity to the lyrics, paired with perfectionist bass lines. And drummer Alex Freer’s slick production soars Aseurai to diverse and synergetic heights. The broth is richer with more cooks in the kitchen, and the brewing of textures creates a distinct ‘Phoebe Rings’ sound.

If the EP was spacey, then Aseurai settles on earth, rooted in tangible moments. “Without getting too gloomy, it’s a weird world out there. A lot has changed in the world since the EP came out,” says Kavanagh-Vincent on this transformation. The album delves into hope and longing across all possibilities, and this exploration of holding on and letting go is organically threaded throughout. Across ten songs, Phoebe Ring’s storytelling ranges from tongue-in-cheek musings on gentrification to tender autobiographical memories.

아스라이 흩어지는 하늘의 별이 (May the falling light of faraway stars) / 그대의 손 끝에 닿아 숨이 돼주길 (Reach your fingertips and let you breathe),” Choi sings in the title track “Aseurai.” Imagined as a breezy track inspired by a 90’s Korean pop band, Choi discovered, when fleshing out the lyrics, that it was about yearning for people she couldn’t see anymore. In the old-school disco track, “Get Up,” Locke addresses struggles with mental health in a Matrix-inspired driven mantra:  ‘Just get up / Just get up.’ The groove persists with ‘Fading Star,” a quirky ballad filled with steely jazz/rock guitar solos dedicated to a suburban aging musician. Kavanagh-Vincent’s lead single ‘Drifting’ is an unrequited celestial love song with bouncing bass and playful synths.

The band wrote, produced, and engineered the album across studios and band members’ homes in 2023/2024 in Tāmaki Makaurau (Auckland). It features mixing/mix production by local legend Jeremy Toy (Bic Runga, Aaradnha, Princess Chelsea) and mastering by Kelly Hibbert. With Aseurai, Phoebe Rings mark out a brilliant new constellation in their sky, bringing their individual compositions to the fore whilst seamlessly threading them into one celestial body - launching skyward on Carpark Records in June 2025.

DIG Curated is proud to announce its latest release: a jolting EP from Tbilisi's rising producer Uvall. This highly anticipated record is backed by Amsterdam's radiant force Marron, co-founder of the ever-evolving techno event Eerste Communie - a true rite of passage in the underground dancefloors.

Driven by a relentless passion for vinyl, and a vision for techno rooted in shared experiences, DIG Curated stands as a community-driven platform allowing emerging artists to be discovered through the endorsement of established diggers in the scene. Co-founded as a sub-label of DIG, by Berlin-based techno mainstays Olivia Mendez and Chami, the project is nurturing a future of vinyl curation shaped by credibility and collaboration.

For the third release on DIG Curated, Marron steps in to present a trailblazer in Tbilisi's underground scene - Irakli Bregvadze aka Uvall. He is known for groove-driven, high-energy techno, emerging from the heart of Georgia's electronic music movement, where the mantra "We dance together, we fight together" symbolises a commitment to unity and resistance. His production style - a potent fusion of hypnotic rhythms and raw intensity - is designed for big-room club spaces, capturing dancers in an immersive experience throughout. Uvall's magnetic sound lies in touching all elements while never failing to keep the minimalism as intriguing as it is mysterious. His undulating rhythms, draped with enigmatic synths, work seamlessly at both faster and slower tempos, keeping the tracks deeply captivating.

With Northern Lights' heavy pulsations that control and mold the listener, it becomes clear why Marron-who has been consistently curating the steamiest dancefloors-would choose to present Uvall's music as a precious discovery. Both artists seem to be born under similar stars, living and breathing the social movement that techno is, standing up for freedom of expression and border-transcending values.

Renowned for his deep-rooted dedication to the underground techno community, Marron lends his endorsement and artistic appreciation to the release. As a co-founder of Eerste Communie, Marron has consistently championed forward-thinking sounds and community-driven dancefloor experiences, making him the utlimate advocate for DIG Curated's mission. Always in competition with himself, Marron's fast-paced yet highly rhythmic selections are driven by his roots in African groove combined with a powerful, yet hypnotizing and atmospheric techno sound.

"With DIG Curated, we aim to harness the collective power of creativity and knowledge, and spotlight emerging artists. We want to collaborate with esteemed figures in the music scene, who have the credibility to endorse new names with distinct sounds." - Chami, co-founder of DIG Curated.
"As DIG continues to evolve and grow, we are committed to pushing the signature sound of techno that brought us together, and inspire a new movement in vinyl curation by launching DIG Curated." - Olivia Mendez, co-founder of DIG Curated.
DIG Curated 003 is a testament to the power of community, resilience, and the importance of music as an igniting tool to empower and connect dancers in times of polarisation and adversity.

Returning to an aphotic minefield of sound – Seismic Records is back with its third release, Drum Ring, crafted by Norwegian producer and Ute Records co-founder Ekkel. Emerging from the forests of Nordic electronic heritage, Teo Bachs – aka Ekkel – channels the raw energy of ’90s progressive sounds into his mind-bending productions. From the studio, his signature blend of breaks and intricate percussion create soundscapes that are as cerebral as they are propulsive. Titled Drum Ring, the EP captures the feeling of a complete mental trip through a narrative of tension, ancient textures, and enchanting melodies.

Poised with a sense of urgency, the A-side unfolds with a neatly rolling rhythm. Hradec Fog Fever builds a controlled frenzy of percussive elements, with layers stripping in and out, consistently driving the track forward. Slipping into A2, Owl Foot casts a sonic mist, a haze that tentatively creeps forward, flickering between atmospheric dips and shadowy contours. Vocal-cut whispers transcend through the soundscape, shy yet impactful, drawing you closer. It’s a tender introduction to a minimalist, dark progressive journey – a delicate balance of intrigue and mystery, where each sound lingers like a secret waiting to be discovered.

The B-Side strikes with poignant, powerful drum kicks that reverberate through layers of distortion. Drum Ring displays echoes of tension and unease, building a restless energy that urges deeper introspection. Ancient, enchanting tones weave through the chaos, grounding the frenetic soundwaves in something timeless and mystical. Sealing the EP, Endphase begins with faint, distant string notes that offer a fleeting, hopeful moment of rest. Growling chords and textures swirl, edging you to a meditation, only to be punctuated by sharp, deliberate drum patterns, adding a sense of momentum and purpose – a glimmer of light breaking through the mist. Experience the full cycle of a delicate trip as Ekkel guides you through Drum Ring – a precious and dark progressive journey.

"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.