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A deeply intimate and cinematic body of work, My Goddess unfolds as a self-contained emotional universe; an album about grief, depression, healing, and the enduring human urge to find beauty in a world that often feels unrelenting.
Composed against the backdrop of Lebanon’s ongoing political and economic collapse, My Goddess captures what it means to process personal heartbreak and collective trauma simultaneously. Across nine emotionally charged tracks, Etyen draws from profound loss, existential reflection, and the tragic death of his beloved cat Lucy to craft a record that is as fragile as it is resilient; both a personal reckoning and a universal portrait of survival through art. “This album is a conversation with myself. It’s about loss and grief, about finding beauty and trying to hold on to it,” says Etyen. “It’s about confronting the painful parts of life while still believing there’s something gentle and divine to hold onto.”
Blending cinematic textures, Etyen's unique and inspired electronics, and minimally sculpted yet immersive melodies, My Goddess pushes further into the raw introspection first glimpsed on Etyen’s 2022 debut album Untitled. But this time, the sonic architecture is more distilled, the emotional stakes more immediate. The result is a record that gently lingers in the spaces between memory, absence, and hope.
The album’s first single, the title track “My Goddess,” drops May 5 with a self-directed music video, one of three cinematic visuals accompanying the album. The trilogy further expands the emotional world of the record and affirms Etyen’s role not only as a musical artist, but as a multidimensional storyteller.
With over a decade of work that spans Netflix scores (Jinn), international festivals (Sonar Barcelona, Mutek), and critical acclaim and editorial support from Bandcamp Daily, BBC Radio and much more, Etyen has carved out a singular voice in electronic music—bridging personal, cultural and political resonance through sound. As the founder of Thawra Records, he also continues to champion independent artists from the region, building a vital platform for forward-thinking music in and beyond the Arab world.

"In 2020, Chick Corea—27-time GRAMMY® winner, National Endowment for the Arts Jazz Master, and one of the most iconic figures in jazz—hit the road with his powerhouse trio of Christian McBride and Brian Blade, and embarked on what would be his final tour. Candid Records and Chick Corea Productions proudly present the recordings from that tour as Trilogy 3, the third installment from this extraordinary group. This unforgettable double live album showcases their unparalleled chemistry and cements their legacy in contemporary jazz history.

With years of collaboration to draw from, 9-time GRAMMY®-winning bassist Christian McBride and 4-time GRAMMY®-winning drummer Brian Blade bring a profound musical connection to their work with Corea. Their longstanding partnership fuels a dynamic, ever-evolving soundscape that elevates the art of the jazz trio to new heights.

Following the critically acclaimed Trilogy (2013) and Trilogy 2 (2018) albums, which each earned two GRAMMY Awards® including Best Jazz Instrumental Album, Trilogy 3 marks yet another milestone for this celebrated ensemble. The release brings together live performances from their February-March 2020 tour, cut short by the onset of the pandemic, capturing the trio’s extraordinary interplay and artistic brilliance. The album features fresh interpretations of jazz standards and Chick Corea originals, including the first trio recording of Corea’s iconic composition ""Windows"" since its appearance on the album Now He Sings, Now He Sobs, nearly six decades ago.

Widely regarded as one of Chick’s most acclaimed ensembles, this trio has consistently pushed the boundaries of jazz with technical brilliance, playful camaraderie, and deep emotional resonance. Trilogy 3 invites listeners to join these masters on a journey through music that is both timeless and groundbreaking."

Die deutschen Epic-Doom-Metal-Meister Lord Vigo veröffentlichen im Mai 2025 ihr sechstes Studioalbum auf High Roller Records. Nach den von Presse und Fans gleichermaßen gefeierten "Danse De Noir" (2020) und "We Shall Overcome" (2022) handelt es sich bei "Walk The Shadows" mitnichten um den dritten Teil der begonnenen Trilogie. ""Walk The Shadows" steht für sich alleine und ist unabhängig von einem durchgehenden Konzept", erläutert Schlagzeuger, Sänger und Keyboarder Vinz Clortho. "Das war nach zwei doch sehr ausgefeilten Konzeptalben eine schöne Abwechslung für uns. Es hat wirklich Spaß gemacht." Stücke wie "Through A Glass Darkly", "Servant Of The Dark" oder "The Triumph Of The Killing Heart" verströmen eine Art von Gothic-Horror-Atmosphäre, die einem eklektischen Mix aus Sisters Of Mercy, Fields Of The Nephilim und sogar The Cure ziemlich nahe kommt. "Das kann man durchaus so ausdrücken", stimmt Vinz Clortho zu. "Das Album kombiniert viele verschiedene Stile und kreiert dadurch etwas ganz Neues. Meine Roots liegen im klassischen Metal, und dies in Kombination mit den düsteren Songs auf der neuen Platte ergibt eine komplett andere Richtung für Lord Vigo. Ich denke nicht, dass es ein Album gibt, das ähnlich wie "Walk The Shadows" klingt. Ich weiß nur nicht, ob das ein Vorteil oder ein Nachteil ist." "Der Song 'Walk The Shadows' ist die erste Single", erklärt Vinz. "Dazu haben wir auch ein Video gedreht. Jeder Song steht für sich. Deswegen ist es auch schwierig, bestimmte Nummern herauszuheben. 'El Hakim' ist zwölf Minuten lang, es ist nicht nur der längste Song des Albums, sondern auch der atmosphärisch dichteste. Ganz sicher einer meiner Favoriten." "Stilistisch ist das neue Album sehr wohl ein Sprung für uns" fährt Vinz fort. "Aber genau aus diesem Grund denke ich, dass es eine wegweisende Platte für uns werden kann. Es gibt Gruppen, die immer wieder das gleiche Album schreiben. Aber das sind nicht wir. Bei Lord Vigo klingt jede Scheibe anders. Diesmal haben wir unsere Komfortzone verlassen. Kommerziell mag das nicht unbedingt sinnvoll sein. Aber das ist uns ziemlich egal. Wir wollen Erfolg auf unser Weise. Stellenweise singe ich eine ganze Oktave tiefer als für gewöhnlich. Auch das ist ein Grund dafür, warum "Walk The Shadows" so klingt, wie es klingt."

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

In October of 1999, Nina Nastasia recorded the album that would finally document her well-seeded career as a local singer-songwriter in New York City. It was exemplary of Nastasia's style, delicate string arrangements, the restrained beauty of her live band, the deceptive simplicity of her voice, and poignant, life-wise lyrics. The following year, "Dogs" was released on CD by micro-indie label Socialist Records. By the end of 2000, the "Dogs" CD was out of print. But "Dogs" had a special grassroots effect on Nina Nastasia's music career, as fans of the record would correspond across internet message boards and zines, discussing songs and soliciting copies of the rare edition. The album would also mark the beginning of a lasting peer relationship with noted recording engineer Steve Albini. In 2004, Touch and Go Records reissued "Dogs" on CD and, for the first time, on vinyl. The vinyl quickly sold out and remained out of print for nearly two decade_ until now.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

Zig Zags have been an L.A. institution for over a decade, never veering from their hard-riffin punk/metal mission statement. They’ve gigged all over the globe with underground luminaries such Mike Watt, Neurosis, Pig Destroyer, Oh Sees and Feral Ohms and recorded collaborations with icons like Iggy Pop. Now the power trio is set to release their fifth incendiary full-length album, Deadbeat At Dawn, named in honor of the beloved B-movie, a no-budget action revenge flick set in the mean streets of suburban Ohio. Cult cinema is an enduring Zig Zags inspiration, with the band frequently calling out exploitation films in their lyrics, odes to teen-delinquent classics like “Over the Edge” and dystopian sci-fi such as, “Terminator” and “Total Recall”. The new album sticks to this obsession with the cultural underground, riffing on everything from demonic minions to apocalyptic visions and alien attacks. The result is the most focused, intense, and catchy Zig Zags album yet, with the timing perfect for their distinctly melodic and maniacal call to arms. Finalizing recording and mixing just as the catastrophic fires hit their hometown in L.A., Deadbeat At Dawn is the perfect soundtrack for a city rising up from the ashes of destruction. “I feel lucky that we got to put out this record when we did,” Maheu said, “It’s heavy and gnarly and kind of fucked up, but it’s also a lot of fun—which is how we feel about Los Angeles.”

In October of 1999, Nina Nastasia recorded the album that would finally document her well-seeded career as a local singer-songwriter in New York City. It was exemplary of Nastasia’s style, delicate string arrangements, the restrained beauty of her live band, the deceptive simplicity of her voice, and poignant, life-wise lyrics. The following year, “Dogs” was released on CD by micro-indie label Socialist Records. By the end of 2000, the “Dogs” CD was out of print. But “Dogs” had a special grassroots effect on Nina Nastasia’s music career, as fans of the record would correspond across internet message boards and zines, discussing songs and soliciting copies of the rare edition. The album would also mark the beginning of a lasting peer relationship with noted recording engineer Steve Albini. In 2004, Touch and Go Records reissued “Dogs” on CD and, for the first time, on vinyl. The vinyl quickly sold out and remained out of print for nearly two decade… until now.

Yesterday's Children emerged from the vibrant mid-60s Connecticut music scene, evolving from a garage-based instrumental outfit into one of the era's most compelling proto-heavy rock acts. As they evolved, they embraced the psychedelic and hard rock influences of the late 60s, crafting a heavier, more dynamic style. Under the determined management of brothers Dennis (vocals) & Richard (guitar) Croce's father, Dominic, the band gained regional popularity. Their 1970 self-titled album, recorded in New York with producer Warren Schatz, showcased a mix of ferocious originals like "Hunter's Moon" and "Sad Born Loser" alongside inspired covers. Though the album failed to achieve commercial success at the time, it has since been rediscovered as a cult favorite, celebrated for its raw energy and ahead-of-its-time heaviness. Known for their immersive live shows-complete with custom-built light and sound systems-the band toured the East Coast in vintage hearses, leaving a lasting impression on audiences. Despite their eventual breakup in 1972, Yesterday's Children's legacy endures, with their sole LP standing as a landmark in the transition from garage rock to the heavier sounds of the 70s. A true hidden gem, their music continues to resonate with fans of psychedelic, hard rock, and proto-metal.

The 90s were all about Hip-Hop groups. Brooklyn’s Junior M.A.F.I.A., consisting of members Lil’ Kim, Lil’ Cease, Trife, Larceny, Nino Brown, Chico Del Vec, MC Klepto, Capone, and Bugsy, formed under the guidance of The Notorious B.I.G. after he released his classic debut album Ready To Die. At the end of the summer of 1995, Junior M.A.F.I.A. released their debut album Conspiracy on Big Beat Records featuring the lead single “Player’s Anthem” which featured Biggie and was produced by the late great DJ Clark Kent. Clark Kent produced three other songs including the second single “I Need You Tonight” featuring Biggie’s wife Faith Evans on the chorus. The third single, “Get Money”, another Biggie feature produced by EZ Elpee with it’s classic flip of the Roy Ayers Orduced Sylvia Striplin track “You Can’t Turn Me Away” was certified platinum. With eight members deep, it was difficult to stand out, but Lil’ Kim and Lil’ Cease would be the breakoutr stars and go on to release solo albums. The group disbanded after Notorious B.I.G. was murdered in 1997, but left behind songs that still hold up today and remain a big part of Biggie’s legacy, as well as producer DJ Clark Kent -RIP Out of print on vinyl since 2017, Get On Down is proud to present this 90s Hip-Hop classic as a limited edition reissue preesed on splatter colored vinyl and packaged in a gatefold jacket.

Crack the coffers, Oh Sees have spawned another frothy album of head-destroying psych-epics to grok and rock out to. Notice the fresh dollop of organ and keyboard prowess courtesy of Memory Of A Cut Off Head-alum and noted key-stabber Tom Dolas, while the Paul Quattrone / Dan Rincon drum-corps polyrhythmic pulse continues to astound and pound in equal measure, buttressed by the nimble fingered bottom end of Sir Tim Hellman the Brave and the shred-heaven fret frying of John Dwyer, whilst Lady Brigid Dawson again graces the wax with her harmonic gifts. Aside from the familiar psych-scorch familiar to soggy pit denizens the world over, there’s a fresh heavy-prog vibe that fits like a worn-in jean jacket comfortably among hairpin metal turns and the familiar but no less horns-worthy guitar fireworks Dwyer’s made his calling card. Perhaps the most notable thing about Smote Reverser is the artistic restlessness underpinning its flights of fancy. Dwyer refuses to repeat himself and for someone with such a hectic release schedule, that stretching of aesthetic borders and omnivorous appetite seems all the more superhuman!

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

Jahtari label compilation full of all-new Outsider Dubs, Dancehall bangers and lots of cosmic low end, marking twenty years of Reggae oddness from Leipzig.

Vol. 5 is the first addition to the Jahtarian Dubbers series in over ten years, starting off with ‘The Loop Jerk’ by DJ and activist Dave Watts aka KingLMan (who sadly passed away in 2024).

Kiki Hitomi turns up the heat with ‘Red Mustang’, a raw but sweet PG 18-rated Japanese lofi Reggae gem, followed by ‘Casio HipHop’, an addictive synth & drum machine session by UK bedrock producer Kris Kemist (Reality Shock Records).

Singjay miracle El Fata brings the positive energy with ‘Boom Sound’, a synthie dancehall scorcher hot off the tape reels at Naram’s studio in the New Zealand bush, while Jura Soundsystem’s hypnotizing ‘On My Way (Dub)’ easily shifts gears into Sly & Robbie-mode.

Side B starts off with Pupajim’s prophetic ‘Tidal Wave’, produced by digi-reggae specialist Raggattack and coming in an epic extended Disco Dub version.

Melodica wizard Taka Noda (Mystica Tribe) and synth shaman Danny Wolfers (Legowelt) enter into deep magnetic communion with their Sacred Tascam tape deck on ‘Cabal of Puppeteers’, followed by DJ veteran Speng Bond chanting ‘Wha Mek’ over a spaced out depth charge by Jahtari co-founder Rootah.

Gameboy-whisperer DJ Scotch Egg (WaqWaq Kingdom, Seefeel) joins forces with disrupt and Dub trumpet black belt Pablo Volt (STA) for a mindbending journey going all the way from synth heavy Roots to Acid Jazz, on Namahage‘s ‘Voidout Dub’.

The voyage ends with a hazy and mystical Ambient Dub version of ‘Muuri’ by Finish singer Tiiu Helinä, with Tapes on keys – not to be missed!

All lovingly mixed by disrupt, coming with iconic artwork by Disko 69 (Doppeldenk).

Magenta-Canary Yellow-Black A Side/B Side Colourway
Pushing every boundary to a breaking point, GRIDIRON will go to any extreme and then some. They follow quite possibly the most unpredictable playbook in the game. The band might flood the zone with a corpsepaint-smearing death metal barrage only to double back around for a victory lap narrated by blinged-out and braggadocios bars. Their hybridization of metal, hardcore, and hip-hop wouldn’t be out of place at either OZZfest 1997 or Rolling Loud 2027. It’s why the quintet—Matthew Karll vocals, Will Kaelin [guitar, vocals], Xavier Wilson [guitar], Lennon Livesay [bass], and Tyler Mullen [drums]—have bulldozed their own path as a phenomenon with millions of streams and acclaim from Stereogum, Brooklyn Vegan, NO ECHO, and more. GRIDIRON was born out of a series of COVID-era marathon Call of Duty sessions, which led to writing and recording together. Their musical pedigree spoke for itself with Will also in Never Ending Game, Xavier in Simulakra, and Tyler and Lennon in Scarab. Given their individual experiences, the guys instantly locked into a creative groove. Following the Loyalty At All Costs EP [2020] and Worldwide Brotherhood EP [2021], they dropped their first full-length, No Good At Goodbyes [2022]. The title track reeled in over 851K Spotify streams followed by “25-8” with 560K Spotify streams. Along the way, they also shared stages with everyone from Missing Link to Trapped Under Ice. Now, GRIDIRON continue to smash through walls on their second full-length offering and Blue Grape Music debut, Poetry From Pain.












[k] 11. Still Playin' For Keeps (Big Umbrella Remix) [feat. Daniel Son, Pro Dillinger, Jay Royale]
[l] 12. Heavy Metal Money (Seen It All Before) [feat. Big Body Bes]

The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three
Cheers For Sweet Revenge, "is way more dramatic, way more theatrical, completely over the top, borderline
psychotic," says Gerard Way. "It's the most pure, intense thing we've ever been involved in." Producer by Rob Cavallo (Green Day), the album is a celebration of love and death and darkness. Join The Black Parade.

Sechzehn Jahre und fünf Alben nach der Gründung der Band aus Pennsylvania legen die Progressive-Death-Metal-Urgesteine Rivers of Nihil mit ihrem 2025 erschienenen, selbstbetitelten Album Rivers of Nihil einen Zahn zu. Traditionell kann ein selbstbetiteltes Album eine Rückbesinnung auf das Wesentliche und/oder einen Neuanfang signalisieren, und in den 10 kraftvollen Songs wird deutlich, dass diese beiden Faktoren im Spiel sind. Gründungsbassist Adam Biggs wurde 2023 zum neuen Leadsänger/Bassisten der Band; im selben Jahr kam der zusätzliche Gitarrist Andy Thomas (Ex-Black Crown Initiate) hinzu, dessen Gesang auch auf Rivers of Nihil eine wichtige Rolle spielt. Die Produzenten Carson Slovak und Grant McFarland von Atrium Audio haben die neue Dynamik in mehr als 50 Minuten Musik eingefangen.Rivers of Nihil tracklisting CD/Digital:1. The Sub-Orbital Blues2. Dustman3. Criminals4. Despair Church5. Water & Time6. House of Light7. Evidence8. American Death9. The Logical End10. Rivers of Nihil Lineup:Adam Biggs Bass Guitar, VocalsAndy Thomas Guitar, VocalsBrody Uttley Guitar, Piano, Keys, ProgrammingJared Klein Drums, Vocals

Sechzehn Jahre und fünf Alben nach der Gründung der Band aus Pennsylvania legen die Progressive-Death-Metal-Urgesteine Rivers of Nihil mit ihrem 2025 erschienenen, selbstbetitelten Album Rivers of Nihil einen Zahn zu. Traditionell kann ein selbstbetiteltes Album eine Rückbesinnung auf das Wesentliche und/oder einen Neuanfang signalisieren, und in den 10 kraftvollen Songs wird deutlich, dass diese beiden Faktoren im Spiel sind. Gründungsbassist Adam Biggs wurde 2023 zum neuen Leadsänger/Bassisten der Band; im selben Jahr kam der zusätzliche Gitarrist Andy Thomas (Ex-Black Crown Initiate) hinzu, dessen Gesang auch auf Rivers of Nihil eine wichtige Rolle spielt. Die Produzenten Carson Slovak und Grant McFarland von Atrium Audio haben die neue Dynamik in mehr als 50 Minuten Musik eingefangen.Rivers of Nihil tracklisting CD/Digital:1. The Sub-Orbital Blues2. Dustman3. Criminals4. Despair Church5. Water & Time6. House of Light7. Evidence8. American Death9. The Logical End10. Rivers of Nihil Lineup:Adam Biggs Bass Guitar, VocalsAndy Thomas Guitar, VocalsBrody Uttley Guitar, Piano, Keys, ProgrammingJared Klein Drums, Vocals

Swans kehren mit 'Birthing' zurück, dem neuesten Album, das im Laufe einer einjährigen Tournee 2023-2024 entstand.

'Birthing' wird über Mute und Young God Records veröffentlicht. Die Erstpressungen der Deluxe-Vinyl und CD enthalten eine Bonus-DVD mit Swans Live 2024 (Rope) The Beggar, einem Konzertfilm von Marco Porsia, der die letzte US-Tour der Band dokumentiert. Die DVD enthält außerdem 'I Wonder If I'm Singing What You're Thinking Me To Sing', eine Dokumentation von Christopher Nicholson über Michael Gira's Solotournee 2022.

'Birthing', das durch unerbittliche Improvisation und Live-Performance sowie neu komponierte Studiostücke verfeinert wurde, ist ein Zeugnis von Michael Giras kompromissloser klanglicher Vision. Die Songs, die als akustische Kompositionen begannen, wurden im Studio mit langjährigen Live-Mitgliedern und Kollaborateuren schrittweise erweitert und transformiert.

"Dieses Album, zusammen mit der kürzlich erschienenen Live-Veröffentlichung Live Rope, ist mein letzter Ausflug (als Produzent/Impresario) in die alles verzehrenden Klangwelten, die mich seit Jahren besessen haben. Wir werden in diesem Modus gegen Ende 2025 eine letzte Tournee machen, und das war's dann. Danach wird es mit Swans weitergehen, so lange ich dazu in der Lage bin, allerdings in einer deutlich reduzierten Form. Hinweise auf diese Richtung sind in einigen Momenten auf dem aktuellen Album zu finden. In der Zwischenzeit hoffe ich, dass die Musik eine positive und fruchtbare Atmosphäre bietet, in der man träumen kann." - Michael Gira / Swans

Produziert von Gira, wurde 'Birthing' in der Soundfabrik Berlin aufgenommen, im Candy Bomber Studio von Ingo Krauss gemischt und von Doug Henderson bei Micro-Moose gemastert.

Musiker und Produzent Greg Surmacz aus Leeds veröffentlicht mit "Building Beyond The Sky" sein fünftes Album. Seine Musik kombiniert Jazz-Atmosphären mit elektronischen Sounds und wird von Trendsettern wie Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Jamz Supernova oder Moses Boyd unterstützt. Surmacz trat mit James Holden und auf Gilles Petersons "We Out Here"-Festival auf. Bislang erschienen von ihm die Albentrilogie "Timelines" (2021-2022) sowie die LP "What We Can Assume" (2023).

LG Records presents a vinyl-only collection of songs from the archives of the friends and family of Sam Jayne. A very personal assembly of ten songs spanning over 20 years that were compiled from home demos, studio outtakes, obscure compilations, and out of print EPs. Many of these recordings had only been circulated for years amongst friends and fans, never having been formally released on a vinyl album format until now. A condensed and intimate collection of five cover songs and five original compositions that embody Sam’s endless depth of wit, absurdity, humility, passion, and heartache. Dedicated to all of the people who were graced to have shared their lives and fellowship with this beloved, one of a kind human being. Compiled by Zeke Howard and mastered by Tim Green at Louder Studios. 180g black vinyl, 500 pressed with Stoughton 28 pt tip-on sleeve.