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Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Now on blue vinyl! Blue Cheer's second album, Outsideinside, fully matches its predecessor's primal power. The last Blue Cheer release to feature the beloved lineup of Stephens, Peterson and Whaley, Outsideinside is a bracing orgy of volume, distortion and aggression, with such highlights as "Just a Little Bit," "Come and Get It," the instrumental "Magnolia Caboose Babyfinger" and the band's distinctive take on the Rolling Stones' "Satisfaction." Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music.

C"mon Tigre, the innovative music collective known for their genre-blending compositions, releases their highly anticipated fourth album Habitat. Drawing inspiration from the concept of an ecosystem where various forms of life, both animal and vegetal, thrive and coexist, the album takes listeners on a sonic journey through the intricate and ever-evolving nature"s theater. C"mon Tigre"s ability to blend inï¬éuences from distant corners of the world enriches their music and visual imagery. The album is deeply inï¬éuenced by rhythms coming from Brazilian tradition, the backbone is rooted in samba, forro, through instruments and tempos that come from this cultural magnificence. However, it retains the African jazz, electronic, and mixed inï¬éuences that have characterized the project thus far. Connecting the dots, the result is a richly layered and genre-defying soundscape. The record boasts a stellar lineup of collaborations. Among these are Seun Kuti, heir to the legacy of the legendary Fela Kuti, whose afrobeat roots infuse the album with a potent and infectious energy. The record also features Xenia Franca, a dynamic Brazilian artist hailing from Sao Paulo, Arto Lindsay, recognized as a pivotal figure in the world of experimental music, Giovanni Truppi and the Californian collective Drumetrics which featured on C"mon tigre"s records since their debut in 2014.

2LP with poster + iron-on print, gatefold sleeve. On their 2015 self titled debut EP, Hällas lay the foundation of the saga bearing the same name as the protagonist crusader as well as the band themselves, which later grew into a trilogy composed of the two last songs on the aforementioned EP and the two following albums Excerpts from a Future Past and Conundrum. To celebrate the completion of the trilogy the band decided to do a one-off show in front of a seated audience at Cirkus, a classic venue in Stockholm. Due to worldwide restrictions the show had to be replanned and postponed several times until it finally happened on April 10th 2022. After more than two years on hiatus and with the exception of a minor festival gig the year before, this was the band's first performance during that whole period, and it was by far the longest set to date in the band's entire career. All first three releases of the band were to be performed from back to back divided into two acts. Act I consisted of Hällas and Excerpts from a Future Past while Conundrum and two songs from their newly released album Isle of Wisdom were performed in Act II. For the first time people were able to experience these new songs live. Some of the older songs such as Insomnia and Tale of a Tyrant had not been performed for several years. Strider and Blinded by the Emerald Mist had never even been played live before. So Hällas fans from all over the world attending the show were in for an unforgettable evening. With this record you get a slice of that pie in the comfort of your own living room. So please have a seat and enjoy this time capsule, as it is a very good representation of how this band sounded live back then.

2LP with poster + iron-on print, gatefold sleeve. On their 2015 self titled debut EP, Hällas lay the foundation of the saga bearing the same name as the protagonist crusader as well as the band themselves, which later grew into a trilogy composed of the two last songs on the aforementioned EP and the two following albums Excerpts from a Future Past and Conundrum. To celebrate the completion of the trilogy the band decided to do a one-off show in front of a seated audience at Cirkus, a classic venue in Stockholm. Due to worldwide restrictions the show had to be replanned and postponed several times until it finally happened on April 10th 2022. After more than two years on hiatus and with the exception of a minor festival gig the year before, this was the band's first performance during that whole period, and it was by far the longest set to date in the band's entire career. All first three releases of the band were to be performed from back to back divided into two acts. Act I consisted of Hällas and Excerpts from a Future Past while Conundrum and two songs from their newly released album Isle of Wisdom were performed in Act II. For the first time people were able to experience these new songs live. Some of the older songs such as Insomnia and Tale of a Tyrant had not been performed for several years. Strider and Blinded by the Emerald Mist had never even been played live before. So Hällas fans from all over the world attending the show were in for an unforgettable evening. With this record you get a slice of that pie in the comfort of your own living room. So please have a seat and enjoy this time capsule, as it is a very good representation of how this band sounded live back then.

Heavenly Cream 'An Acoustic Tribute To Cream' features Ginger Baker, Cream lyricist the late Pete Brown, Free front man Paul Rodgers, Bernie Marsden, Joe Bonamassa, Bobby Rush, Malcolm Bruce (son of Jack Bruce), Debra Bonham, Maggie Bell and others.

For a band that only existed for two and a half years, the influence and fame of Cream seems to have only grown and grown over the decades.

One of the highlights of this project was the participation of Cream's original drummer Ginger Baker. It turned out, sadly, that these were the last recording sessions he ever did.

Another big plus was getting the great Bobby Rush. The 85 year old blues/ funk master verve and energy is spectacular.

Joe Bonamassa didn't quite realize that we were all- acoustic, but plugged in for his slide work on "Sunshine" to great effect.

The powerful vocals of Deborah Bonham gracefully shook the walls of Abbey Road studios when she came in to lay down a couple of tracks. Her husband Peter Bullick also added to the mix, displaying his guitar finesse with great ease.

Maggie Bell's performances were a welcome reminder that she is still one of the greatest British blues/ soul artists of our time. And multi- instrumentalist and singer Malcolm Bruce, who played on every track, did some magical work that his late father Jack would surely have been very proud of.

If that wasn't enough, the phenomenal voice of Paul Rodgers puts the sweetest icing on this fine collection of tracks with his unmistakable presence.

In 2006 Cream won the Lifetime Achievement Award at the Grammys. Features Joe Bonamassa 3 times Grammy Nominee, Bobby Rush 2 time Grammy Winner, Son Of Jack Bruce, Malcolm Bruce, plays on every track.

Produced by Rob Cass, also producer of Silver Rails, Jack Bruce's final album.

Originally released in 1990, Cake is the debut album from the legendary Trashcan Sinatras, now remastered, repackaged and reissued by Last Night From Glasgow.

LNFG have previously re-released the band's albums In The Music, I've Seen Everything, Weightlifting and A Happy Pocket, as well as releasing their new 2022 EP Lay Of The Land

Originally released in 1990, Cake is the debut album from the legendary Trashcan Sinatras, now remastered, repackaged and reissued by Last Night From Glasgow.

LNFG have previously re-released the band's albums In The Music, I've Seen Everything, Weightlifting and A Happy Pocket, as well as releasing their new 2022 EP Lay Of The Land

A quietly funky collection that repays repeated play by creating a mesmeric, almost
hypnotic, cocoon to lose yourself in" Echoes
Examining our relationship with the cosmos as well as more intimate liaisons closer
to home; new transatlantic future soul duo Cosmic Link are set to release their
eponymous debut album on 24th November.
The duo consists of Florida based Jay Myztroh and Bristol based producer Ben
Dubuisson, best known for the Hundred Strong project. Citing influences of Erykah
Badu, Prince, Alice Coltrane, Stevie Wonder and Esperanza Spalding; the album
crosses cosmic soul/RnB, low-end weighted hip hop, and conscious jazz. While the
musical vibrations lay down a groove on a sensory level, the lyrics prompt deeper
subconscious thought.
Under a “Cosmic” header, side one of the album starts with ‘Let It Go’, a song about
releasing the things that no longer serve you in your life, before exploring
meditation (‘Quiet Time’), karma, and responsibility in the way you live your life
(‘Metaphysical’).
Side two of the album is grouped with the theme “Link” and as narrative, explores
the evolution of a relationship: ‘Cellphone’ expresses the desire to be close to
someone, ‘Shoot’ is the introduction to the courting stage, and ‘Show U Love’ is a
request to take a step into a committed relationship.
“All of these songs are personal,” says Jay. “They explore either my experiences or are
written to me as understandings to help me navigate this plane of existence. The
personal nature of the music is what makes it universal to all humans”.
The overall theme of the album is summed up in the lyrics of the closing title track,
“Our motion is perpetual/together we move/at the speed of life/ intertwined by our
timelines/which coincide”.
Jay explains, “There is no separating the all from the source. With all living things
being products of the Cosmos, we are forever linked to it. We all share a source, atimeline, a planet, air, a sun etc. We are linked by simply being and doing the things
beings do”.
Introduced by mutual artist friends, the catalyst for their collaboration was the 2017
album 'Black Diamonds' by Jay's previous project Stono Echo, produced by the late,
great Paten Locke. Over the course of a few years they began remotely exchanging
music and lyrics, building a catalogue of finished tracks. During this time, Myztroh
was also completing his Masters degree in choral conducting that focused on
discovering and promoting compositions from the African Diaspora. Run by Ben
Dubuisson, High Noon Music has been based in Bristol since the early 2000s,
releasing records by artists including Ben’s own Hundred Strong, plus Boca 45,
Joseph Malik, Kali Phoenix, One Cut, Mr Fantastic, and Numskullz.

Malian and French pairing Siraba return to Secret Teachings with a third superb single, ‘Nase’, from their forthcoming debut album, accompanied by US talent Joeski on remix duties.

Malian hunter Boubacar Samake and Damien Vandesande, one half of the French electronic band dOP, use their Siraba project to bring the traditional sound of the Wassoulou - a river valley of West Africa - to the electronic world. They have been friends for 20 years and look to fuse Mali’s rich musical traditions with cutting-edge electronic music, always with an underlying message of love and respect for all. Their stunning work has found a perfect home on Damian Lazarus’ Secret Teachings imprint, a left-of-centre and experimental alternative to his club-focussed Crosstown Rebels, and the pair return in excellent fashion once again to drop the penultimate single ahead of their debut album release.

Joining the package is US house legend Joeski, whose roots in the scene date back to the early 90s. A founding member of The Chocolate Factory DJ collective, he has been a vital part of the scene ever since with releases on Crosstown Rebels, Relief and an array of other heavyweight labels. His sympathetic remix elongates the groove into immersive, deep house sounds richly layered with elegant synths and soul-rousing chords that are delicate yet impactful.

A hard one to put in a box when it comes to genre, floating somewhere between italo and synth pop, originally released in Switzerland in 1985. Written by German pop group Hongkong Syndikat, both tracks with a very distinct and soothing sound that's hard to forget.

"Underboard" is very cool paced downtempo number that builds up with layers of subtle percussion lusciously adorned by some heavy saxy reedsmanship and mysterious vocal accents with no real message - 100% chill o'clock served on ice.

Cedar Of Lebanon picks up the tempo a notch, once again setting the scene for the reeds to shine as the catchy melody is presented, beautiful 80's instrumentalism from a golden age, clearly not made in Ableton. B side features a respectful DJ tool style remix by Anatolian Weapons. Remastered at Manmade mastering in Berlin.

Two leading lights of UK house join forces for a special collaboration which delivers every bit as much as you would expect from anything with the Jimpster & Crackazat stamp on. Having been introduced to Crackazat’s vocal and lyric writing on his acclaimed Evergreen LP from last year Jimpster was keen to team up to bring some of that flavour to his own sound. Born out of a desire to stretch outside of their comfort zones, and with a mutual respect for each others productions, the Natural Child EP brings us two original vocal tracks and two dub versions covering a spectrum of moods from classic soulful to deep, atmospheric, contemporary house.

Opening track Natural Child leads the charge with Crackazat’s trademark jazz-influenced piano part, swirling moog lines and vocal being complimented with Jimpster’s punchy drums and warm, rounded bassline. The result is a spacious and deceptively simple track which will wrap you up in its warm confines.

Next up we have a completely different take on Natural Child which ups the BPM and adds a more live, percussive and rolling vibe which will no doubt get the house dancers throwing down.

My Harmony comes next with its slick and soulful sound which draws inspiration from golden era NYC sounds of Blaze and Louie Vega while Nick Cohen’s live bass brings a bounce to the chunky, shuffling house beats.

Closing out the EP we have a dub version of My Harmony which loops up the Rhodes part, strips back the groove and adds layers of FX and arpeggiating synths resulting in a heads-down deep and soulful track to warm up the dance floor.

Record number 3 from Unveiled Nuance brings a new confidence in the further developed sound of owner Means&3rd. A continued eye for detail as well as a roughness that breathes dark soul into the production aesthetic that we have yet to hear from the artist.

“Hardship Repackaged As Growth” Opens the EP with boomy, rugged low end and grainy driven synth lines with sharp hits of wide sonic impact and a depth of layered atmosphere, placed on a bed of dense percussion until its break point exposes contorted, abrasive stabs just surviving the crunch of their processing, that then take the forefront. “Countenance” replies to the previous track with a more calculated, rounder and organic palette of audio that focuses on a cadenced synth line that breaths with the arrangement, fizzing to break point and engaging the deeper listen. Swung percussion keeps the groove providing a propulsive backing that sits on ganrled bass hits before the focus returns on the charged lead line.

“Character Ethic” carries deep suspense from the off, with filtered menace being teased below the surface, warping atmospheres are stacked and build the apprehension against a militant 16th shaker before an almost vocal like modulated synth reveals itself and is left to dance prominently across the stereo field. Layers of energy providing percussion complete the picture for a mesmerising trip. “Desperate And Relevant” the most driving of the 4 cuts takes an effectively reduced stand where square wave accents build new levels of intensity. Propulsive low-end and cohesive percussion writhe through the track’s arrangement closing out the EP with a powerful ending, a blistering siren sees the track’s breakpoint provide a release worthy of the pressure built.

Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

"The mind-blowing first track Straight Life is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer; images of what jazz was manage to interact with a real-time demonstration of all it could be."
pitchfork, 2003

"Improvisations and Edits is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks."
ambientexotica, 2003

"Often deliciously dreamy and hazy, Improvisations and Edits is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music."
exclaim.ca, 2003

Tape

Atollo« is the debut solo album of the Italian percussionist and composer Daniele Di Gregorio, a virtuoso of the marimba and the vibraphone who has worked with a large number of artists, including Donato Dozzy, Giorgio Gaslini, Tony Scott, Randy Becker, Luis Agudo, as well as Mina, Andrea Bocelli, Fabio Concato, Malika Ayane, and many others. He also has a long-standing collaboration with poet and composer Paolo Conte.

His latest work »Atollo« is divided into three very different sound paths. The first and most extended section is entirely played with the marimba, an instrument that is still fairly new and in full evolution. Some pieces have been performed using special gloves and see the over-layering of two marimbas, in order to build polyrhythmic designs and hypnotic sequences. Other marimba pieces have been performed in “solo” versions using soft, medium and hard mallets.

Secondly we encounter the trumpets of the Vienna Symphonic Library, which pieces after dissecting sound by sound build up the compositions with overlapping rhythmic and melodic loops. »Atollo« the piece that gives the title to this album is the closing track and is created with the Petrof Grand Piano, an evocative and hypnotic piece intended to describe the sound of the sea and the movement of its waves.

All the compositions are deliberately descriptive of the title they take, and are a sonic journey into the composer's past and present.

Composed and performed by Daniele Di Gregorio
Produced and mixed by Niccolò Di Gregorio
Mastered by Luca Sammartin
Original artwork and layout by Marco Ciceri

Remasterte Neuauflage einer der seltenen Platten des französischen Filmkomponisten (Emmanuelle, Purple Rain, Against All Odds) und Meisterarrangeurs (Serge Gainsbourg, Charles Aznavour): Auf seinem selbstbetitelten Album von 1979 bot Michel Colombier eine außergewöhnliche wie geniale Fusion aus Jazz, Pop, Klassik und Funk, begleitet von Top-Musikern wie Jaco Pastorius, Herbie Hancock, Steve Gadd, Larry Carlton und Michael Brecker, aus denen er das Beste herausholte.

After two years, Carl and Andreas present their second album, and once again, it opens up a wide associative space for us. What strikes us initially is the uncommon instrumentation: a church organ, harpsichord, glass tubes, and more. Like their first album (The Aporias of Futurism), it is mysterious and dark. But it also carries a strong touch of rebellion and adrenaline, sometimes quite pointedly. The pieces are now shorter and feature intricate yet irresistible rhythms. The impact is immediate, yet it maintains a sense of solemnity and ceremony. The Apollonian complexity of the rhythms and subtle melodic interweavings is transformed into a Dionysian, ecstatic, hypnotic, and at times tribal context. "Music for Unknown Rituals" oscillates between primitive instincts and avant-garde intrigues.

The process began in Döblitz, a small village on the Saale river in Germany, inside an old church that houses an organ built in 1886 by Johann Adolph Ibach. Carl and Andreas gained access and secluded themselves there for a few days, accompanied by the organ, an instrument made of glass tubes, and a set of modular synthesizers. After recording the basic tracks in Döblitz, the work continued in Munich and Berlin. Carl played electric guitars, harpsichord, bass, metallophone, xylophone, Indian harmonium, and various percussive instruments. Andreas added layers of electronic sounds, noises, and atmospheric drones. He also created percussive structures extracted and derived from recorded material of technical and industrial noises, which contrasted with the acoustic drums played by Carl. The antithetical approach continues with the dichotomous arrangement of the instruments, often panned hard left and right in the stereo field, creating an antiphonic communication. Some parts, especially the use of the electric guitar, evoke memories of the psychedelic sixties. However, this is anything but a nostalgic album—these musical references are merely remnants, set pieces, and fragments used from a contemporary, post-modern, post-youth-cultural, and post-romantic perspective.

Although Andreas and Carl continue on their chosen path of composing music with an almost literary narrative structure, this album is conceptually and formally completely different from their first effort. If “The Aporias of Futurism” was a revolutionary manifesto (in a pataphysical sense), "Music for Unknown Rituals" is more like the implementation in action; it is the practical application of the previous statement. To put it another way, if "The Aporias of Futurism” was the conceptual manifesto of a dark utopia of modernity, "Music for Unknown Rituals" is the staging of free will surrendering to the myths and catharsis of a Greek tragedy. And in response to this, the artwork features a leitmotif of histrionics with hands, the hands being the first and intuitive part of the body to express something: a ritual, a prayer, a defeat...

— Andreas Gerth is one half of Driftmachine, and Carl Osterhelt is part of F.S.K and collaborates with Hans-Joachim Irmler of Faust. Both became connected through their participation in the Tied & Tickled Trio.

Celebrating her 60th birthday, Nikki Iles, one UK's most unsung jazz virtuoso, is set to release "Face to Face," collaboration with the illustrious NDR Bigband. This highly anticipated album stands as a resounding testament to the unmatched quality, meticulous artistry, and virtuosity of these extraordinary musicians. "Face to Face" marks a transformative turning point, propelling her artistry onto a grand stage where it rightfully belongs. Her piano compositions bear an unparalleled emotional depth, captivating listeners with each exquisite note.

Joined by the NDR Bigband, known for their impeccable performances and musical prowess, this album delves into the heart of contemporary jazz. Together, they craft a sonic tapestry that redefines the genre and transcends conventions. Beyond a mere celebration, "Face to Face" is a revelation of Nikki Iles' genius and a testament to her impact on the music world. It offers an intimate encounter with her raw talent and undeniable charisma. . With each listen, "Face to Face" unravels the layers of Nikki Iles' musical brilliance, perfectly complemented by the grandeur of the NDR Bigband. This album invites us into the magic of true artistry.

Good Lovelies' first performance as a trio was on December 15th, 2006 - it was a collection of originals and Christmas material, and Toronto-based Caroline Brooks, Kerri Ough and Susan Passmore had no sense yet of the long career that lay ahead. To honour the anniversary of their debut performance, Good Lovelies continued presenting Christmas-themed shows, and what started as a single performance became an annual holiday tour. With a growing catalogue of seasonal material, in 2009 the band decided it was time they made a record. The unusual heat of that May had an interesting effect on the project, and as the band got into the spirit, they wound up with the 12-song collection "Under The Mistletoe" - which includes classics like Santa Baby, Silent Night and Blue Christmas, to swingers like Mele Kalikimaka and Rockin' Around the Christmas Tree, as well as three originals written by Good Lovelies. "Under The Mistletoe" remains one of Good Lovelies most popular titles to date, and now, fourteen years after its initial release, fans are being treated to a fresh pressing on limited edition red vinyl. The release comes just in time for Good Lovelies annual holiday tour which has become a Christmas tradition for thousands of fans at home in Canada.