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'Enjoy Youth', the follow up to Bright Light Bright Light's #1 UK Dance Album 'Fun City', sees him at his most confident and euphoric. Aiming to bring as much joy as possible with the album, Bright Light Bright Light has worked with some artists and producers who have brought him joy through his teenage years up to now. Guest vocalists include GRAMMY nominee Mykal Kilgore, dance icon Ultra Naté, Beth Hirsch of Air's 'Moon Safari Album', and Berri who had a monster Top 5 smash with 'Sunshine After The Rain'. Co-producing the tracks are Scissor Sisters' Babydaddy, UK pop superstar Richard X (Kylie Minogue, Alison Goldfrapp, Sugababes), Jon Shave (Charli XCX, Girls Aloud, Miley Cyrus) and Ian Masterson (Bananarama, Dannii Minogue). 'Enjoy Youth' is an uplifting, dancefloor- forward record bursting with energy and reverence for the music and artists that shaped him.

Fabulous Soundtracks, the fourth studio album by reclusive Los Angeles musician Jack Name, is an homage to the IRL world and its twisted and varied romance with the worlds of our minds, in a wild collection of "soundtracks'', each a sonic re-construction dedicated to a distinct scene. Both musically and lyrically, this is Name's most adventurous and genre-defying album. Elements of acid, dance, folk, micro-tonal weirdness, horror, sensuality, impressionism, and bursts of rock fuse with Name's most direct yet ethereal lyric writing to date.

Each song with artful intention confuses dream-like experiences and common everyday situations, and vice-versa, sometimes inflicting a frightening energy into the banal, or this in reverse. Offering a "fabulous soundtrack" as the title implies, to dreamlike cinematic scenography including but not limited to; walking alone through a park at night, a woman tiptoeing through a garden, a person wrestling with time and change, lust, grieving a pet, driving alone in the rain, laying in bed with a lover, a bare tree standing in a field, looking through pieces of glass, and inviting the devil into the home (as one does).

Sam's Place ist das erste Studioalbum der amerikanischen Blues/Rock/Country/Funk Band seit 12 Jahren und gleichzeitig eine Hommage von Little Feat an den Blues mit dem Schlagzeuger Sam Clayton als Leadsänger im Mittelpunkt. Es ist auch ihr erstes Studioalbum mit Scott Sharrard an der Gitarre und Tony Leone am Schlagzeug sowie den langjährigen Mitgliedern Bill Payne an den Tasten, Kenny Gradney am Bass und Fred Tackett an der Gitarre. Das Album wurde in Memphis, TN im Sam's Phillips Studio aufgenommen und von Little Feat und Charles A. Martinez produziert. Das neue Werk strotzt nur so vor Energie und beinhaltet musikalische Einflüsse vieler verschiedener Künstler wie Muddy Waters, Willie Dixon, Sam Clayton, Fred Tackett oder Bonnie Raitt die als Gast-Sängering mit von der Partie ist. Little Feat wurde 1969 in Los Angeles von Lowell George gegründet und löste sich nach dessen Tod 1979 auf. 1988 fanden sich die verbliebenen Musiker wieder zusammen und und veröffentlichten seit dem eine respektable Anzahl hochkarätiger Alben, die ihnen auch n Deutschland, Österreich und in der Schweiz Verkäufe in 6-stelliger Höhe bescherten. Nach "Rooster Rag" 2012 geht es jetzt mit Vollgas Richtung "Sam's Place" um mit Little Feat eine große Blues-Party zu feiern.

Die unverbesserlichen Headbanger von LEATHER LUNG lassen die Party steigen! Der Fünfer aus Boston, Massachusetts hat das Flehen seiner enthusiastischen Fangemeinde nach einer vollen Dröhnung Boogie Metal erhört und legt mit "Graveyard Grin" endlich das Debütalbum vor. Die Neuengländer halten mit diesem Kracher aus Stoner Metal, Doom, einer Prise Sludge und einem eingängigen Kick die großen Versprechen, die ihre bisherigen EPs abgegeben haben: Angefangen mit "Reap What You Sow" (2014) und gefolgt von "Lost in Temptation" (2016), "Lonesome, On'ry and Evil" (2019) und "Dive Bar Devil" (2022) haben sich LEATHER LUNG bereits in die Herzen ihrer wachsenden Anhängerschar gespielt. Der wilde Haufen von langjährigen Freunden formierte sich in der Bostoner Punk- und Hardcore-Szene aus reinem Spaß an Doom und Stoner Metal. Anfangs als Vierer unterwegs erspielten sich LEATHER LUNG schnell einen exzellenten Ruf in der lokalen Szene und bald darauf quer durch die USA, zum Beispiel beim DesertFest New York und dem Psycho Las Vegas, sowie über ihre Veröffentlichungen sukzessive auch in Europa. Aufgebrezelt mit einem zweiten Gitarristen sind LEATHER LUNG inzwischen zu fünft und bereit, die Welt mit "Graveside Grin" zu erobern. Die Freaks von der Ostküste können es kaum erwarten, endlich wieder auf die Straße zu kommen, um erstmals eine globale Party zu feiern.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

Die mit dem GRAMMY® Award ausgezeichnete Rockband Cage The Elephant meldet sich mit ihrem kommenden sechsten Studioalbums Neon Pill (17. Mai, RCA Records) zurück. Mit dem neuen Album beschreitet die aus Kentucky stammende sechsköpfige Band - die Brüder Matthew Shultz Gesang und Brad Shultz Gitarre, Daniel Tichenor Bass, Jared Champion Schlagzeug, Nick Bockrath Leadgitarre und Matthan Minster Gitarre, Keyboards, Backing Vocals - musikalisches Neuland, wobei sie ihre kompromisslose Kreativität und ihre wilden, kathartischen Performances beibehalten. "Neon Pill", produziert von John Hill, entstand bei Sessions auf der Sonic Ranch in El Paso, im Electric Lady in New York, im Sound Emporium in Nashville, im Echo Mountain in North Carolina und in Hills eigenem Studio in Los Angeles

Significant Other unveils a new project: Pain Management. A new imprint presenting music and visual media across a variety of formats. The outlet launches with an original 4 track EP: When It Rains.

Christening the label with his first full length release since 2021, the subversive producer steps out from behind the curtain with a batch of tracks guaranteed to soothe psychic woes and challenge sound systems alike.

True to the name of the label, this debut release delivers a healthy dose of leftfield club weight. Tough and tender in equal measure, it’s a record that explores in-between zones. A fever dream of narrative experiments at the outer edges of club music, packing enough punch to shake a dancefloor, but enough delicacy to soundtrack the ride home. The final product is a meeting of outsider sonics and sleazy dance tropes, body music for restless minds.

The record begins with the lead single ‘RPG’ (A1). A smoked out, drug chug power ballad featuring fellow NYC underground alum James K. Anchored around a growling 4/4 battle beat, swells of dub and inchoate vocal cries rise intermittently from the haze. Within the fever dream fugue of thuggish sub weight and engine-room crud, a tender, sustained warmth shimmers.

A2’s ‘I Get Such Bad Headaches’ is a twisted club thumper built around a questioning vocal refrain. It’s a tongue in cheek nod to the label’s origins that takes shape in a sleazy beat track with some serious club weight. Slowed n’ chopped to the maximum, it’s a low slung sleeper-hit with attitude. DJ Screw meets Tylenol PM, a bass-boosted anthem for the neural punishment enjoyer.

The B-side opens with the title track, ‘When It Rains (It Pours)’, a droned out mess of distant voices and textural grit. Anchored around the titular looping axiom, the track has a deathly, abyssal weight to it. A claustrophobic hymn of surrender, faithful to its stark refrain.

‘Bad Blood’ wraps the record on a tender note. A sluggish heartbeat pumps beneath the fog of dub delays and distortion, propelling forward a lethargic rhythm. Out of nowhere a blissed out synth line pierces the tension. A sharp, emotive melody disrupting the paramnesia with something new. If the record’s title track suggests a downward spiral through some psychic storm, then ‘Bad Blood’ shows the outline of dry land coming slowly into focus.

Art Direction by Ciaran Birch

Making a bold return, genre-defying, North Carolina-bred quartet and live sensations Rainbow Kitten Surprise will unveil their first full-length album in six years, LOVE HATE MUSIC BOX, on May 10, 2024 via Elektra Entertainment / Parlophone. Produced by Daniel Tashian (Kacey Musgraves) along with Konrad Snyder (Noah Kahan) and Melo, the much-anticipated album ponders life’s ups and downs, and traces the turbulent trajectory of relationships, painted out loud in hues of pop, electronic, rock, and hip-hop. As such, it finds the musicians at their most vulnerable, vibrant, and vital.

The band formed in Boone, North Carolina. (Robbinsville, North Carolina is the hometown of Ethan Goodpaster and Jess Haney.) Rainbow Kitten Surprise, ""RKS"" for short, is known for its harmonies, instrumentation, and lyrics. Their sound has been influenced by artists such as Modest Mouse, Kings of Leon, Frank Ocean, and Schoolboy Q.

The band formed in Boone, North Carolina. (Robbinsville, North Carolina is the hometown of Ethan Goodpaster and Jess Haney.) Rainbow Kitten Surprise, ""RKS"" for short, is known for its harmonies, instrumentation, and lyrics. Their sound has been influenced by artists such as Modest Mouse, Kings of Leon, Frank Ocean, and Schoolboy Q.

Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil’s Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections” and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further.

Bruno Berle’s music lives between two worlds – a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that’s genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The album follows Bruno’s relocation to São Paulo, and the songs are a reflection of his past and present. A rebuke of former categorizations of his work in Brazilian music scenes, and an idea of where his music can move, unfettered.

Berle’s music is purposeful in being a true portrait of himself, and a reflection of the music, art, and fashion scenes he personally moves through. Berle aims to provide an entrypoint for Black queer joy in his music, in his storytelling, in his presence and vision as a creative. For him, it feels subversive to be playing MPB laced with dubstep and lo-fi, a sort of intentional sacrilege, capturing a dialogue of modernity in traditional music.

Berle wrote most of the arrangements and co-produced his new album, Reino Dos Afetos 2 with longtime friend and musical partner Batata Boy, who is also from Maceió; the album was recorded in Rio de Janeiro, Maceió, and São Paulo, his new home, and picks up the conversation begun in 2022 on Berle’s debut album No Reino dos Afetos. Both records are the result of a nonlinear but coherent seven-year music creation process culminating in these albums, holding hands across space and time.

“Tirolirole,” the first single from the record, was released at the end of 2023; sun-soaked rhythms and soft voice coat the song, the lilting refrain of “Tirolirole” throughout – hushed, gentle, but somehow almost tactile, a golden-hour moment unlocked in the mind. “Tirolirole” is a triumphant future classic about the temporality of a blossoming love, with Bruno’s stunning vocal soaring over melodies which ebb and flow like the waters on the Atlantic shore. Of the track, Berle explains: “Despite ‘Tirolirole’ being an expression that evokes my childhood, just like the light words about nature, the harmony, and the poetry are epic, carrying a great hope for love.”

In fact, the guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. The album happens at the genesis of meeting someone and falling for them, before the relationship is thrown into overdrive – set in a big city, against a backdrop of major life changes, rising energy, the sound of São Paulo.

Something transcendental emerges in “Dizer Adeus,” with an arrangement that echoes a gospel atmosphere (evangelical and Catholic environments were pivotal to Berle’s upbringing). On “É Só Você Chegar,” piano and flute gracefully intertwine, a dance, while “Quando Penso” skews sparser, the voice-and-guitar minimalism somehow cultivating an entirely different shape – somehow both cozy and melancholy, with the background sound of a rainy day. Coupled with the lo-fi aspects that shape much of the album’s personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle’s sonic alchemy, like on the mid-album instrumental “Sonho,” which feels like floating. “It’s the apex. It’s when lovers are sleeping together,” Berle explains of the feeling he wanted to encapsulate in the song.

On “Love Comes Back” Berle interprets Arthur Russell, the late Iowa musician who only reached greater visibility after he died in 1992. “His way of making music is similar to mine,” Berle explains. “He sings in a more fragile way, has more of an experimental way of recording, letting ‘chance’ appear in the final work.”

Even so, Berle doesn’t want his music to be buried in sentimentality – and the purposefulness of his craft serves as a sort of north star. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works – drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. But even then No Reino Dos Afetos 2 floats separately, a romanticism driven by a simplicity and intimacy, an open-ended possibility, Berle’s singularity as an artist at the helm of the ship.

Lonnie Liston Smith and the Cosmic Echoes’ groundbreaking albums for Bob Thiele’s Flying Dutchman label don’t get the attention from jazz fans that they should. In fact, among the many distinguished alumni of Miles Davis’ fusion bands, keyboardist Smith and his cohorts arguably ran with Davis’ stylistic breakthrough the farthest. In five albums stretching over four years, Smith and the Cosmic Echoes stretched the fusion aesthetic to embrace post-bop modal and spiritual jazz, funk, rock, pop, and even the smooth jazz, quiet storm, and crossover genres. And if those latter styles raise your traditionalist hackles, Smith imbued all of his records with integrity, vision, and his unique spacy sensibiity; instead of playing it safe or commercial, he fearlessly paved a path for modern jazz musicians to follow (Kamasi Washington, for one, no doubt listened to these records at length). Real Gone Music is proud to present Lonnie Liston Smith’s first two records as a bandleader inside their respective original gatefold jacket artwork… soulful, spiritual, life-enhancing music!

From the early ‘90s to the turn of the millennium, Gabrielle was one of the UK’s most successful and beloved artists. With two unforgettable #1 smashes (‘Dreams’ and ‘Rise’), a back catalogue full of Top 10 hits, two albums which reached 4 x Platinum status, two BRIT Awards, two MOBOs and an Ivor Novello, everything she touched seemed to turn to gold. In recent times, Gabrielle has enjoyed a remarkable resurgence, one that proves that timeless, empowering songwriting and a distinctive voice that is the very definition of soul will never go out of fashion.
The first single from the album, "A Place in Your Heart" will be released on the 18th January (9:30am timed release), and will be premiered on BBC Radio 2 - Zoe Ball that morning. The new single retains Gabrielle's signature sound, opening with her instantly recognisable vocal and provides an anthemic hook fans will no doubt sing along to.
A big part of that resurgence comes from the love shown to her by the current wave of iconic artists. Adele recalls being inspired by the lyric “Dreams can come true” as a child and has been a life-long fan of Gabrielle since, saying, “I remember being mesmerised by her, so pure and so delicate and gentle with her voice and in the way she moved.” And when Adele’s own dreams came true, she returned to her first inspiration and invited Gabrielle to join the bill for her two rapidly sold-out Hyde Park shows in the summer of 2022. The result was a sea of faces - some older fans, but many more who would’ve been too young to remember her the first time around - singing Gabrielle’s songs back to her.
Another high-profile supporter emerged that same year. Stormzy invited Gabrielle to cameo in his ambitious video for ‘Mel Made Me Do It’, where she joined a host of artists including Dave, Little Simz, Headie One and Jazzie B. She was also referenced in its midpoint monologue, when ‘Black Panther: Wakanda Forever’ star Michaela Coel narrated Wretch 32’s words: “Gabrielle once told us dreams can come true, and that sentence emancipated the minds of our pioneers.”
2018’s ‘Under My Skin’ in 2018 was heralded as “a heartfelt comeback” by The Guardian on its way to the Top
10. It wasn’t long before she was discovered by a brand new audience too, winning fans with a memorable stint as Harlequin in ‘The Masked Singer’ in 2021.and followed by ‘Do It Again’, an album of which mixed original songs, new takes on all-time classics, and her interpretations of more modern pop favourites from the likes of Billie Eilish, Harry Styles and Rihanna. It shot to #4 on the Official Album Chart - Gabrielle’s highest chart position in twenty years.

With Gabrielle’s star again in ascendance and her high profile live presence, 2024 seems the perfect time to release a new album. She’s consolidated her original audience and found a whole new one.
Autumn / Winter 2023 saw Gabrielle embark upon the ‘30 Years of Dreaming’ headline tour which was extended to a phenomenal 33 dates following overwhelming public demand. Many shows sold-out more than six months in advance, including London’s prestigious Royal Albert Hall.

Both Tymon Dogg and Richard Dudanski had musical roots playing in The 101'ers with future Clash singer/guitarist Joe Strummer. All three shared a deep love for southern Spain, due perhaps to the influence of the Romero sisters, Paloma (later "Palmolive" of The Slits) and the artist Esperanza, who were among the first Spanish punk refugees in London. Tymon's career began with beguiling interactions with Apple Records, The Moody Blues and future Led Zeppelin members John Paul Jones and Jimmy Page before he discovered his true musical self as a punk / folk experimentalist, opening shows for the likes of The Slits, Raincoats and Pop Group and becoming the longest-running musical foil in Strummer's career, continuing into The Clash and Mescaleros. Similarly, Richard played in Basement 5, Public Image Ltd, The Raincoats and others before following Esperanza back to Granada...which subsequently became second home to Tymon and Joe. Spain is not without its own punk heroes, and chief among them was Granada's Antonio Arias, another pal of Joe's and leader of Spain's musical heroes, Lagartija Nick, which also included Dacoits members Juan Codorniu and JJ Machuca. Antonio sings the albums two Spanish-language songs. while Tymon sings the other nine...and there's an instrumental, "Mongols", which the band considered too epic as a stand-alone instrumental to mess with! Tymon sings three songs from his past: "The Wheel Of Life And Death" has been heard before as a live bonus track on the expanded reissue of "Battle Of Wills", "Conscience Money" was heard in a very different version on the impossible-to-find "Made Of Light" album, and an embryonic take of "Something To Prove" turned up the even rarer 1989 solo album, "Relentless". If you imagine the playful elasticity of "Sandinista!" recast into a more straightforward record, with Tymon taking the lead on something more than that album's "Lose This Skin", you're halfway there. Guests include Killing Joke bassist / famed producer Youth and Dr Robert from The Blow Monkeys

repress !

Following acclaimed singles from Powell, Blood Music, Shit & Shine and Prostitutes, the next release from Diagonal is a landmark. It marks both the London label's first full-length album release, and the return of abrasive and furiously funky hip-hop deconstructionists Death Comet Crew, one of the most quietly influential underground acts to emerge from the creative melting pot of 1980s New York.

Ghost Among The Crew documents the group's return to studio operations for the first time since the 80s, as well as their first ever full-length studio album. It's a remarkable trip: a consolidation of their early feral disassemblies of hip-hop and electro, but also broader in scope, chewing up and spitting out fragments of soul, jazz fusion, punk and industrial music.
Death Comet Crew were founded in New York City in 1983 by Stuart Argabright, a founder member of post-punk/industrial mavericks Ike Yard and the mind behind Dominatrix and later Black Rain. Their sound, then as now, was a singular proposition: urban in mood, exploratory, often compellingly danceable, yet confrontational. It emerged from the interweaving talents of the group's varied members: guitarist Michael Diekmann (of Ike Yard), bassist Shinichi Shimokawa (later of Black Rain) and Nick Taylor aka DJ High Priest, frequently joined by the late, great hip hop artist and graffiti writer Rammellzee. Having recorded two studio EPs - 1985's At The Marble Bar (featuring Rammellzee) and its follow-up Mystic Eyes - the group disbanded barely a year after forming. They left behind a reputation for their incendiary live performances, several recordings from which were gathered on crucial 2004 compilation This Is Riphop.
The musical climate that first birthed Death Comet Crew was one of fertile cross-pollination of styles. In the late 1970s and early 1980s, the seeds of modern day urban musics - hip hop, punk and post-punk, no wave - were taking root in the streets of recession-struck New York City. Argabright recalls dancing at the downtown Mudd Club around 1980 to a bold mixture of styles, with DJs cutting from synth-pop and post-punk to funk, soul and early hip-hop: Bowie and James Brown next to Run DMC, Ultravox and Gary Numan. Indeed, the names of his New York contemporaries operating around the same time - the likes of Liquid Liquid, Run DMC, Afrika Bambaataa, Arthur Russell, ESG, Swans, Sonic Youth, Bill Laswell and more - have since been inscribed in modern music history.
With previous projects Dominatrix and Ike Yard having recently become inactive, in 1984 Argabright formed Death Comet Crew as a means of exploring new sonic avenues. He'd been experimenting with tape, recording and procesing the sounds of his surrounding environment and dialogue from films and TV. Joined by Shimokawa, Diekmann and Taylor, and using drum machines, turntables, spidery guitar and bass, the group assembled a scrambled collage of rhythms and sampled voices. Their live performances were, in Argabright's words, "aurally violent, sharp-edged, downright lacerating", hacking gleefully away at hip hop and electro's rhythmic frameworks. Rammellzee joined the group to vocal 1985 debut EP At The Marble Bar; his MC turn on highlight 'Exterior Street' is all the more remarkable for having been entirely freestyled in the studio. When Death Comet Crew reformed in 2003 for a string of live shows, he continued as an active member of the group, touring and working with them during the recording of Ghost Among The Crew, until he sadly passed away in 2010.
After reforming, Death Comet Crew began writing and recording new material. Now, following on from their just-released Galacticoast 12" through Citinite, Ghost Among The Crew - its title a homage to Rammellzee - hones the group's abrasive early experimentations while tripping into bold and astrally minded new territory. Alongside the core quartet of Argabright, Diekmann, Shimokawa and Taylor are new voices, including Rapscallion (a friend of Rammellzee's), Jessica 6/Hercules & Love Affair singer Nomi Ruiz, and Carolyn 'Honeychild' Coleman. Its eight tracks are steeped in the impulsive spirit of electric Miles and the deep space romances of Sun Ra, and possessed of an enigmatic yet undeniable pop edge. But equally they're pricked with urban paranoia and dread, traits that have long been hallmarks of Argabright's musical projects.
'Me Czar Of The Magyars' opens the album in a twist of tension like the turning of a ratchet. Its taut electroid shudder is paired with machine gunned cymbal hits and a voice telling of "wormwood and opium dens" - the sound of being teleported from everyday city streets into the astral plane, where every sensory input is heightened and the promise of danger or pleasure lurks unseen around every corner. Later, Coleman's lyrics pay tribute to Rammellzee on the sci-fi funk of 'Deep Space Woman'. 'Let The Clubs Ring' melts lounge bar organs and frazzled guitar into freakishly unstable shapes, while 'Drag Racing' matches its title, rocketing along frantically atop clattering drums. 'Moons On Titan's Seas' is halfway interlude pause for rest, like an exotic cocktail in a bar orbiting some as-yet-undiscovered new world. These varied strands are somehow all summarised in album closer 'Ignition Spark', which sets Ruiz's vocals alongside Taylor's and Argabright's. The zone the trio inhabit in this final track exists in perpetual push-pull between contemplation, memory, intrigue and violence, a decisive opening of a new chapter in Death Comet Crew's history.

As with all Diagonal releases, the initial vinyl pressing will be packaged in unique, specially designed artwork.

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei



Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.



Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:



As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.



Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.



Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

The Hammond organ was first manufactured in 1935. In 1954, the now famous Hammond B3 model was introduced with additional harmonic percussion feature. When the company went out of business in 1985, around two million of various models of the Hammond organ have been produced.

The Hammond B3 was originally marketed to churches as a lower-cost alternative to the wind-driven pipe organ. It quickly became popular with professional jazz musicians in organ trios. Jimmy Smith's use of the Hammond B3 inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in rhythm and blues, rock, reggae, and progressive rock.

This collection is centered on the exciting and dynamic sounds of the Hammond B3 organ!

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Mary Lattimore and Walt McClements are two of contemporary music"s most renowned innovators. Each has managed to expand the perception of their instrument"s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions. Recorded in the cozy setting of McClements" apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on "Stolen Bells" that glisten like lights on wet pavement, or the stately piano figures on "The Top of Thomas Street"; their pastoral pieces manage to paint vivid images.

Mary Lattimore and Walt McClements are two of contemporary music"s most renowned innovators. Each has managed to expand the perception of their instrument"s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions. Recorded in the cozy setting of McClements" apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on "Stolen Bells" that glisten like lights on wet pavement, or the stately piano figures on "The Top of Thomas Street"; their pastoral pieces manage to paint vivid images.

Introducing the much anticipated 7"" vinyl featuring two standout tracks from Sami Galbi. Face A is "Dakchi Hani," a poignant post-breakup anthem blending raï influences with contemporary rhythms, offering a humorous take on navigating emotions. Face B showcases "Rruina," a powerful follow-up track that delves deeper into darker, club-oriented sounds, pushing the boundaries of Swiss-Moroccan raï-chaabi fusion. Seamlessly transitioning from the raw synths and bouncing rhythms of "Dakchi Hani" to the tension-filled atmosphere of "Rruina," this vinyl promises a captivating journey through Sami Galbi"s musical evolution. With each track tailored for the dancefloors, this vinyl release is poised to explode with energy wherever it goes.

Our 20th celebration year continues with a very special comeback! It’s exactly ten years now since the last Ben La Desh release on our label, his sublime “Stellar Talk EP” hit big waves and together with the “Midnight Rendez-Vous EP” from 2012 he cemented himself in the lo-fi deep space house scene as an artist to look out for, no one produced deep house like he did back then. After a longer break from releasing music he is back and we think stronger as ever, with analogue gear and well curated sampling and live field recording we present you his “Fine Rise EP”.

The opener “Heel Goed” is an amazing track with that distinctive 909 beat and DX bass driven “La Desh” flavour and a truly wonderful vocal sample from a 90s TV commercial, hilariously funny and brilliant at the same time! We can’t wait to see the faces of people, especially on the Dutch dancefloors, when they try to figure out and discover what the ladies are talking about! Second A side track is the super funky “Lift Adrift” that flanges itself to outer space, etherical with chopped break beats and various percussive and rhythmic Pearl Syncussion layers running through effect pedals, Lift Adrift!

On the other side we start out with the deep title track “Fine Rise”. Here Ben treats us again to his trademark spaced out effects driven sound and on top a killer bass line and synth lead melody, reminiscent of the golden age of (good) trance music. Followed by the break beat gem that is “Asanti”, cautiously cut up breaks and layered machine drums with bubbly Syncussion sounds, rain drops falling down on different surfaces recorded in a garden in the French Drôme and processed African Kalimba. Did we already say Etherical? It is!
Closing out this great new record is the ambient piece “Expanding Signal”, an analogue tune that consists of field recordings and deep dubby chords, a building Juno pulse, swooshes and again a profound DX bassline, think of “Sun Electric” or “The Orb”.

Enjoy this one and play it loud on the dance floors or silently in your bedroom, it works everywhere as far as we are concerned!

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

GRAMMY award-winning, multi-platinum rock band Kings of Leon are coming back big with their 9th full-length studio album, Can We Please Have Fun. As the title suggests, it’s a document of one of this era’s great rock & roll bands cutting loose, trying new things, and, yes, having some fun. Recorded at Dark Horse studio and produced with new collaborator Kid Harpoon (Harry Styles, Florence + the Machine) the album sees a new side of Kings of Leon. On the new album, the band harkens back to their gritty origins while simultaneously finding new gears. It’s the sound of a band unified in vision and purpose, freed from any expectations, and the album the band says they’ve always wanted to make.

Pressed on limited edition purple rain vinyl. Wrote and produced by Colemine label owner, Terry Cole. Band consists of two members from The Jive Turkeys. The last recordings made at the basement Regent Drive studio in Middletown, OH finally making it to a dirty 45! The Tee See Connection is comprised of members of The Jive Turkeys (Rob Houk - drums, Matt Amburgy - keys, Terry Cole - bass). The A-side, "Skyline Chili Churner" is an organ burner with funky bass and blown out breakbeat style drums while the B-side is straight up boom bap with Matt Amburgy cookin' hard on the keys. Drums and all parts ripe for sampling!

Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.

Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout NYCT's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.

Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.

The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the NYCT catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."

Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the NYCT catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.

Originally released on tape by SicSic in 2014, Aprilnacht commemorates a decade of music from Brannten Schnüre and marked the spring in a tetralogy of albums about the four seasons when it came out. Back then the Würzburg-based project consisted solely of Christian Schoppik, who later welcomed Katie Rich to take over the vocals. He used to perform as Agnes Beil, but dropped the name when, while making this album realized his music was becoming "much gentler and more fragile". Aprilnacht already captured the particular musical ideas that Schoppik would thoroughly keep exploring, delving deeper and deeper into the use and manipulation of samplers from sources so diverging as to wander between the five continents to post-war German family television and cult cinema. Heir of the ritualistic intensity of Coil, of the intricate sampler assemblies of Ghédalia Tazartès', and of the dusty, dismal old ballads from around the world, Brannten Schnüre manages to make these paths cross in a territory that is as inherent as it is uncanny; sieged by the past and intimate as a hearth. An organic approach to folk, ambient, and sound collage, where ethereal yet thoroughly textured pieces coalesce in enthralling, delicate, and innermost musical rituals.

The album cover paintings reveal the temper: dreary old towns where shadows come to dim the slow passage of crepuscular colors, a soft area of reanimation where wind and light come close and foresee the night of spring. Aprilnacht was inspired by the stories of German philosopher and writer Friedrich Alfred Schmid Noerr, whose work exhaustively examines the conflict between paganism and Christianity, safeguarding myth in a way that Schoppik describes as boldly modern, humorous and unpredictable in its variations of the Germanic folklore motifs. "I wanted to do the same with the music," he states, and the music here could as well be suitable for a night when household deities welcome wandering will-o'-the-wisps, water nymphs, and gyrovagues to discuss Perchta's leadership of The Wild Hunt, but this album is not a folk tale, it's not an elegy to worlds already gone, hidden in years; it's an intersection of routes that open mysteriously before our ears like a congregation of vapors. Aprilnacht is a gathering of voices; "There are too many children, and none of them keeps quiet," reads the last verse of «Requiem für eine Ringelnatter.»

Sensuality drips over the music to celebrate both the voluptuousness and tragic quality of nature; "It's raining on me, urine from your flowers," Schoppik sings in «Urin deiner Blüten» and later on, faced with a snake's erotic features, as if he wanted to be embraced by it: "Your quick, sharp tongue and your warm venom; that's what the pond is missing." Orality is where this profusion of contents thrives. When the voices get closer and condense, the words reveal the saliva employed to pronounce them; we feel the mouth and the tongue, but when breath envelops them in sorrow and softens their edges, they sound distant, diffused in the atmosphere, letting go of the body that held them. These two vocal facets oscillate permanently and interact naturally with the fertile assembly of samplers and instruments that develop throughout the album, which condense and disperse impersonating each other, interweaving to search for a specific syntax. Tangled whisperings of enigmatic phrases, timid voices that stick out to check the scene but hide away quickly, shivering trance chants and monastic ambiances, distant screams and clamors in between chaos and warfare swirl until bursting into subtle songs where even Mother Mary comes forth softly. Soothed by foggy atmospheres and crackling punctuations, these voices shape a vulnerable crowd, an occasion of fragility. Along this swarm of songs thrown into thin air, accordions sound like heavy-breathing lungs; clarinets sigh like curtains shaking; violin solos wander around like bees; Gjallarhorns cries distend like fleeing cattle; glockenspiels evoke remote music boxes and inherited toys; backward emanations emerge like slender waves retreating. On the banks of stretching loops and ember textures is where the songs slowly nest, collecting the words to find their tone.

A poem by Jorge Teillier says, "To talk with the dead you have to choose words that they recognize as easily as their hands recognized the fur of their dogs in the dark. To talk with the dead you have to know how to wait: they are fearful like the first steps of a child. But if we are patient one day they will answer us with a flame that suddenly revives in the fireplace." This may be Brannten Schnüre's main purpose: To find the voice to speak to those of whom we were a vision. Not in mourning, but acknowledging the obscure and volatile nature of spring's regenerative force, searching for the treasure of balance, as evidenced in the lyrics of «Requiem für ein Schwalbennest,» "Its nest was destroyed so many times before it was finished, and despite that, the shallow builds as if it is infatuated." The same idea is here in the words of Schmid Noerr, who made poetry an act of resistance to the horror of Nazism; "Since having seen the ability of a brilliant spirit to die, with a calm mouth that everyone saw, health is true again and we affirm it, even if rivers of blood flow." And as we call for the dusk's kindness, waiting to return home and eat with our kin by the stove, our ears become used to the games of the night. We feel like we're rowing on wetlands, while the "moon musick" keeps us vigilant against the slightest movement of water or sweet moan because eeriness here is imperative for survival. Do not succumb to the insipid howl of death, for nothing may last but mutability. You see, the rock has moved a little during the night; the rest is just wind fleeing from the void.

RSD 2024 Release

Ibelisse Guardia Ferragutti is an Amsterdam-based mutli-medium artist who has worked as a performer, theatre maker, vocalist, visual artist, musician and teacher. Raised in Bolivia within Bolivian and Brazilian families. Her notable musical collaborators include: Alabaster DePlume, jaimie branch, Ab Baars, Wilbert de Joode, Eric Boeren, Mary Oliver, Paul Koek, and The Paper Ensemble. Frank Rosaly is a Puerto Rican drummer, composer, and sound designer with several decades of touring, performing, recording, and creating to his name. Born and raised in Arizona, Rosaly was known for his fifteen years of creative work on the Chicago jazz and improvised music scene, before moving to his current residence in Amsterdam, The Netherlands, in 2016.

Born in 1977, in Malang, East Java, Wukir Suryadi began playing music for theatre at the age of 12 with the Idiot The-ater Studio, and later with the Rendra Theater Workshop. In his solo work, and as a member of Senyawa, Error Scream, Bendera Hitam Setengah, Potro Joyo and other groups, Wukir breaks the boundaries of traditional music, death metal and avant-garde performance. On this new release, “Cycle and Prayer,” recorded in 2023, he expands the edges of his unique artistic world further, by digging in to meditative improvisation, art, and community building in his home workshop in the mountains of central Java. These recordings vibrate inwards, toward the microcosmic ecologies of forests and rivers; they distort outwards, resonating with global waves of apocalyptic change that are forcing all living beings to the edges of existence on earth. The result is a meditative poem that moves, as its titles an-nounce, from phenomena to phenomena, praying that humans find a way out from the depths of the depths to the light that illuminates the soul.
An essential mode of creative work for Wukir is the creation of unique instruments, using these sound sources as “bullets of expression.” In addition to the spear-like tube zither Bambu Wukir, he has created the Solet, Enthong, Garu, Luku, Arrows, and Industrial Mutant instruments, which in addition to being used in live performance, have been exhibited in the Instrument Builders Project and the 2017 Jakarta Biennale. In the past few years, Wukir has begun to collaborate with local guitar makers, carpenters, and suppliers of native endemic wood in the mountain region of Salatiga. Using earthen bricks along with local woods (suren, coconut, mindi, and waru lengis) as building materials, he constructed a new studio and workshop space in Tingkir, where this album was made. The trees, water and air of the local environment have exerted a powerful influence in Wukir’s documentations of instrumental sound. On this recording, he uses the simple Cetta guitar, an instrument designed in Bali and made for Indonesian children and local communities of folk and popular musicians, in order to explore the different sonic characteristics of a more “normal” instrument built from local wood.
The themes of the album -- cycle and prayer -- arise from a foreboding series of meta-events that shook Indonesia and the world over the past years, following one after the other: the COVID-19 pandemic, the Ukrainian-Russian war, the Kanjuruhan Stadium tragedy in which football supporters were gassed and killed by police, revelations of govern-ment failures and corruption, the rise of personal vehicles, the increasing disturbance of natural patterns of the rainy season and other ecological cycles. “In these waves of technology and narratives of truth made for certain interests, playing a sound at a certain frequency and repeating can try to bring images and feelings to a certain point of con-sciousness,” Wukir told me. “Sound is a prayer that creates a change, whether gradual or rapid, in the behaviour of living things, to face the demands of the time, as humans struggle to live according to what they believe.” The draw-ings and sketches used for the cover spontaneously emerged alongside the recordings, as an instinctive depiction of “time and sound, nature that is outside of oneself, and nature that is within.”

Nach den Riesenerfolgen ihres Debutalbums "Mamani" (2002) das viele als den Klassiker der "deutschen Soul Musik" betrachten und dem englischsprachigen Nachfolger
"Born & Raised" (2006) erscheint mit "Maureen" nun Joy Denalanes drittes Album. Nachdem die deutschsprachige Platte schon 2011 direkt in die Top 10 der Deutschen Charts einstieg, erscheint "Maureen" jetzt als zusätzliches Schmankerl in Englischer Sprache, mit einem exklusiven Bonus Track "Steppin' Up" sowie ein einzigartiges Duett mit U.S. R&B Sänger Bilal.
"MAUREEN", benannt nach Joys zweitem Vornamen, ist vor allem ein sehr persönliches Werk, auf dem "Deutschlands Queen of Soul" ihre unterschiedlichen Facetten auslebt, ungeschminkt, reflektiert und nahbar erforscht sie die "zwei Seelen, die in ihrer Brust wohnen" und verschafft ihnen mit dieser fantastischen Songsammlung zwischen Soul, Funk und Hip Hop-Beats Ausdruck und Nachdruck.
"Eine meiner Eigenschaften ist ‚Direktheit' ", sagt Joy Denalane. "Als Mensch und Künstler strebe ich nach der Wahrhaftigkeit, mir und anderen gegenüber." Joy Denalanes neues Album "MAUREEN" ist ein Manifest dieser Lebenseinstellung.

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

"""Trumpeter, vocalist, songwriter, and producer Keyon Harrold will release his debut album Foreverland, blending a unique hybrid of Jazz and Hip-Hop/R&B on Concord Jazz, January 19, 2024. This special curation of 10 original tracks includes special guests Common, Robert Glasper, PJ Morton, and more. Keyon Harrold was born and raised in Ferguson, Missouri, one of 16 children in a family of musicians. He graduated from the School of Jazz at The New School. Keyon considers Miles Davis' Second Great Quintet, Prince, Dr. Dre, J Dilla, and Common as influences. His first solo album, Introducing Keyon Harrold, was released in 2009 to high praise. During that time, Keyon became a notable crossover performer, becoming a staple of New York jazz clubs and providing instrumentation for recordings by Jay-Z, Beyonce, 50 Cent and touring with Rihanna, Eminem, D'Angelo, and many more. Keyon received wide acclaim for supplying all of the trumpet playing in Don Cheadle's Miles Davis biopic Miles Ahead (2015). His sophomore album, The Mugician, released in 2017, was well-received by fans and critics alike.
HIGHLIGHTS: Sold Out 2 x Ronnie Scotts, Jazz FM Playlist, 6Music Support FINANCIAL TIMES ★★★★ – “a closely produced set that supports and surrounds his elegant, soulful fluency with vocals, edgy beats and rap”
THE OBSERVER “genre-defying post-bop” THE OBSERVER ★★★★ Album review"""

"Ovdan" means loss, the album was written and recorded during a dark period in the Israeli band's life and the creative process was indeed a healing to come back to life after several traumatic events they experienced. Musically, they pushed boundaries while still maintaining the vision that started successfully with their debut album "Hollow" (2020).

Double 180g coloured marbled vinyl (Disc 1: translucent sun yellow with red; Disc 2: purple with violet & white) housed in a gatefold cover. Double EP 7" on randomly coloured eco vinyl with four new tracks written for "Risk Of Rain Returns". Carefully designed, beautifully remastered and loaded with new ways to play - "Risk of Rain" is back and better than ever! Dive into the iconic roguelike full of unique loot combinations, enhanced with new Survivors, overhauled multiplayer, fan favourite content from Risk of Rain 2 and more! Ten years to the day, after "Risk of Rain" was released into the world to become a true classic, the game is revived on November 8, 2023 as "Risk of Rain Returns" to reconnect with its fans and be discovered by those who didn't realise what they were missing. Time to give the iconic game soundtrack an update as well, isn't it? Creator Chris Christodoulou gives an insight on his work as well as the extensive and luxurious new vinyl release that come with some remarkable extras: "Can you believe it's been ten years already? It seems like yesterday that I was sitting in my small bedroom/studio in front of an aching computer writing the music for 'Risk of Rain'. And here we are, ten years later, returning to it to, adding to its musical compendium. What an unexcepted, magnificent journey! With this very special release we're celebrating both, the 10-year anniversary of 'Risk of Rain' and the release of 'Risk of Rain Returns'! This modular album contains the entire Risk of Rain soundtrack remastered and the four new tracks written for 'Risk of Rain Returns' (with contributions from special guest musicians Damjan Mravunac & Maria Papageorgiou).

"Due to the big success of The Original Source Series, on 3rd May 2024 Deutsche Grammophon will launch Batch #5, presenting four more legendary recordings. Same high standard as with the previous releases of The Original Source series: All are 4-track recordings from the 1970s, remastered by Emil Berliner Studios, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality.
The new batch presents much praised interpretations of the symphonic repertoire, including Karl Böhm’s iconic version of Beethoven’s “Pastoral” Symphony and Claudio Abbado’s wonderful rendition of Brahms’s 1st Symphony, both with the Wiener Philharmoniker. Daniel Barenboim and the Chicago Symphony Orchestra are heard with their exciting recording of Bruckner’s 4th Symphony, and Rafael Kubelík’s legendary collaboration with the Boston Symphony Orchestra in Bartók’s Concerto for Orchestra. Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the USPs of the series:
Pure analogue mixed & cut from the original four-track ½-inch master tapes (instead of the ¼-inch stereo copies)
Mixed by Rainer Maillard & cut by Sidney C. Meyer directly from original analogue source at Emil Berliner Studios
Manufactured at optimal media on 180-gram virgin vinyl
Original Source Series = no copy used, no extra devices in the signal pass, no digital sound processing at all; more clarity, more detail, and far less noise; Pure analogue"

LANY haben im Alleingang den Mainstream geknackt - als eine der allgegenwärtigsten, unberechenbarsten und unverzichtbarsten Alternative-Rock-Bands dieser Zeit. Ihre energiegeladene, mitreißende und sich ständig weiterentwickelnde Live-Show zieht Fans auf allen Kontinenten in ihren Bann und ist weltweit ein Publikumsmagnet. Für ihr lang erwartetes fünftes Album hat sich die Band wieder mit dem legendären Produzenten Mike Crossey zusammengetan.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

From the studio of Attack on Titan, comes a new show - CHAINSAW MAN. This vinyl includes score highlights by Kensuke Ushio from the hit series The soundtrack album by Kensuke Ushio taps into different styles whilst at the core reflecting the action-gore story with lots of electronic & industrial beats and fast-paced melodies. As a contrast, the focus track "that's a dream come true" is a slow-vibing piano track with electronic beats that shows the rare but intense emotional scenes in the show. Kensuke Ushio started his solo career in 2007 under “agraph”. and creates electronic music. He has worked on music for animation TV series, music in advertising and movies such as: A Silent Voice, Devilman Crybaby, Space Dandy, Liz and the Blue Bird, Japan Sinks 2020, Heike Story and now Chainsaw Man.