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Gal Costa’s 1969 self-titled album stands as one of the
boldest statements of the Tropicália movement. Blending
psychedelic rock, experimental arrangements, and Brazilian
popular music with fearless originality, the album showcases
Costa’s powerful, expressive voice at its most adventurous.
Featuring contributions from major Tropicália figures such as
Caetano Veloso and Gilberto Gil, its mix of sweetness and
sonic daring helped redefine contemporary Brazilian music,
cementing Gal Costa as a groundbreaking and influential artist.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

DIG! is the 6th studio album by UK 5-piece band Mamas Gun, a rare creative brotherhood of passionate musicians making soul music that sounds and feels timeless. Recorded by engineer Neil Innes straight to 16-track analogue tape at All Things Analogue Studios in Leeds, the album captures the sound of five musicians at the very top of their game, coming together to bring 11 lovingly crafted songs to life. The result is intimate performances that put you in the room with the band as the music unfolds.
Andy Platts’ golden falsetto leads songs that explore universal themes of love, family, hope, and redemption, finding uplift in times of downturn. Drummer Chris Boot provides grooves with jazz-like lightness, Cameron Dawson’s melodic bass echoes the spirit of James Jamerson, Terry Lewis brings warm, old-school guitar authenticity, and Dave Oliver connects jazz, gospel, and soul with piano, Wurlitzer, and Hammond organ.
The album features a standout collaboration with legendary Brian Jackson on the jazz-funk title track “DIG!”, as well as fan favourites like “Food For The Flames”, “The Proof”, and “Joy.” Deeply soulful and authentic, DIG! is Mamas Gun at their most accomplished.

Classic album by Dinah Washington, one of America's most versatile singers of the 1950's who moved effortlessly between pop to gospel to jazz to blues. She teamed with the great Quincy Jones , For Those in Love is an essential album for any collection. Dinah Washington (1924-1963) recorded many albums for EmArcy Records and during the period 1954 to 1961 she worked with Quincy Jones, including the release presented here, For Those in Love, which was the first of their recorded collaborations. Featuring three brilliant small group sessions, taped on three consecutive days in March of 1955, the arrangements were by Jones, who also conducted the band and played a trumpet solo on 'Ask a Woman Who Knows'. The group of heavyweight players includes such stars as Clark Terry, Jimmy Cleveland, Paul Quinichette, Cecil Payne, Wynton Kelly, and Jimmy Cobb.

"Collected Works and War of the Martian Ghosts" ist die ultimative Sammlung von Aufnahmen der lebenden Chicagoer DIY-Legende Dr. Charles Joseph Smith. Es ist auch die erste Archivveröffentlichung von Sooper Records aus Chicago. Die Musik hier ist zum ersten Mal überhaupt für alle zugänglich. Diese 90-minütige Sammlung umfasst 30 Jahre von Charles' selbstveröffentlichter Musik, darunter Konzertklavier, elektroakustische Experimente, elektronische Beats, freie Improvisation und zwei Instrumentalversionen seiner sich weiterentwickelnden Science-Fiction-Oper "War of the Martian Ghosts" (eine elektronische Version von 2023 und eine Klavierversion von 2018). Diese Doppel-Vinyl-/Dreifach-CD-Sammleredition enthält ein umfangreiches Booklet mit 9000 Wörtern über das Leben und Werk des Künstlers sowie Gedichten, Interviews, Zitaten und 30 Archivfotos. Dies ist ein Stück Musikgeschichte Chicagos. Die bemerkenswerte Geschichte von Dr. Charles Joseph Smith beginnt mit der musikalischen Begabung eines stummen Kindes und der zielstrebigen Art und Weise, wie er dieses Talent förderte, um es zu seiner Lebensaufgabe und Daseinsberechtigung zu machen. Charles erzählt von dieser künstlerischen Reise in seiner Autobiografie ,The 88 Keys that Opened Doors", einem selbst veröffentlichten Buch, das ein Leben beschreibt, in dem Musik der wichtigste Schlüssel war (und immer noch ist), um die großen Herausforderungen durch Autismus-Spektrum-Störungen (ASD) zu meistern. Seine Karriere als Musiker startet in der Kirche, führt ihn in die internationale Konzertszene und endet schließlich in Chicagos experimenteller Underground-Szene, wo sie seltsame Früchte trägt. Auf diesem Weg hat Charles Joseph Smiths kompositorische Stimme populäre Musik von Pop bis Jazz, den Gospel der Kirche, den Kanon des klassischen Konservatoriums, moderne Tanzmusik und den regelbrechenden Experimentalismus der DIY-Subkultur seiner Stadt, in der er seit über 30 Jahren eine tragende Rolle spielt, aufgenommen und verarbeitet. Seit Mitte der 1990er Jahre tritt Charles auf, tanzt und verkauft seine selbst veröffentlichten Musik- und Schriftwerke persönlich, oft bei lokalen Shows, die er regelmäßig besucht. In Chicago ist er als lebendes Symbol für die Kraft der Musik und den beliebten Gemeinschaftsgeist im Herzen der DIY-Szene bekannt. Dies ist die definitive Sammlung seiner Originalaufnahmen - auch wenn es unmöglich wäre, die ganze Bandbreite der Musik, Poesie und Prosa des produktiven Dr. Charles Joseph Smith zu erfassen.

BCUC (Bantu Continua Uhuru Consciousness) have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances. The Road Is Never Easy is BCUC"s fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica).

Riva Starr returns to Rekids with the ‘Shine A Light’ EP

The Snatch! Records boss follows up 2022’s appearance on the label with Mark Broom as Star B.

Italian producer and DJ Riva Starr returns to Rekids with the ‘Shine A Light’ EP, arriving 27th March 2026. It marks his solo debut for Radio Slave’s flagship label, succeeding his ‘Love Will Remain’ EP together with Mark Broom as Star B in 2022. Active for more than two decades, Starr has been a consistent force within House music, known for building infectious loops, weighty basslines, and hook-led vocals into timeless club records. His catalogue spans his own Snatch! Records alongside labels such as Hot Creations, Cajual, Crosstown Rebels, and Factory 93, with releases regularly topping digital charts.

Riva Starr’s ‘Shine A Light’ EP starts with 'Can't Stop The Feeling’, setting the tone with a bold, elastic House groove, driven by funky bass, smart filter work, and diva-style vocal stabs designed to lift the room. ‘Shine A Light (On Me)’ follows with even greater impact, pairing wall-rattling drums with belting vocals that bring gospel intensity to a hands-in-the-air anthem. ‘Tryin’’ digs deeper, keeping the pressure on with a sleazier bassline underpinning male vocal cries and smooth choral touches built for peak-time reactions. Closing things out, ‘Can’t Stop The Feeling (Beat-A-Pella)’ strips the groove back, rounding off a high-impact, emotionally charged EP of modern house craftsmanship.

180g, Gatefold, schwarzes Vinyl. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

180g, Gatefold, White Vinyl, limitiert auf 1000 Exemplare. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.



He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

Über die Jahre hat Numero eine Menge Aufnahmen aus den Tiefen Detroits ausgegraben. Aus allen möglichen Mini-Motowns haben wir Soul, R&B, Funk, Disco, Boogie und aufgrund der Nähe auch Gospel entdeckt. Frühere Untersuchungen der Labels Revival und Big Mack brachten mehr als nur ein paar neue apokryphe Hymnen zutage, und Great Lakes Gospel Vol. 2 versammelt ein Dutzend interessanter Kirchengruppen, die sich hingebungsvoll an die Ausläufer des Genres heranwagen. Verlier dich in ekstatischem Chor-Funk, Kanzel-Rap, direkt eingespeisten Gitarrensoli und dem Heiligen Geist, sollte er dich bewegen. Schau dich im Raum um. Mit diesem Ding könntest du eine Kirche gründen.

The “5” Royales were the most enduring and influential of all the 1950s proto-soul groups. In a very crowded market, their success was remarkable. The Royales were the first African American group to introduce gospel based vocal styles into the rhythm and blues format. This gave an intensity to their recordings and live performances that no other combo could get near, thanks to the passion and power that lead singer Johnny Tanner generated. Furthermore, the group possessed in Lowman Pauling a songwriter of genius and a guitarist, who invented an exciting style of playing that linked stinging solos with rhythmic accompaniment. The Harbingers Of Soul is a mouth-watering overview featuring the best of the King era and the most soulful sides from their stay at Home Of The Blues. 180gsm vinyl. Sleeve notes by John Ridley.

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

Johnny Cash (1932–2003) was a legendary singer-songwriter whose deep voice and storytelling made him one of the most influential figures in American music. Blending country, rock, folk, and gospel, he created timeless songs like “I Walk the Line,” “Ring of Fire,” “Folsom Prison Blues.”, “I Got Stripes,” and “Oh Lonesome Me.” Known as The Man in Black, Cash’s music spoke to themes of love, faith, and redemption, leaving an enduring mark on generations of artists.

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

Elvis Now was, despite the title, recorded between early 1969 and the summer of 1971 and encompasses different genres including country, gospel, soul and pop. We see for example Kris Kristofferson-penned "Help Me Make It Through the Night" and The Beatles' "Hey Jude", all lavishly arranged keeping in mind the Las Vegas aesthetic of 70s Elvis. The album furthermore only had one single, "Until It's Time for You to Go / We Can Make the Morning", which reached number 9 on the Easy Listening chart in the US in March 1972 and number 5 on the UK Singles Chart in April 1972.

Elvis Now is available as a limited edition of 500 individually numbered copies on light blue marble vinyl and includes an insert.

The album opens with a swinging version of "I'll Be There." The groove is up-tempo, slippery and almost gospel in intent, it's simply breathtaking.

Likewise, an extended version of George Harrison's "Something," is a blissed-out mind-bender.
Other covers, such as "We've Only Just Begun," and Bread's "Make It With You,"

The band has been sampled over 200 times, most often in the hip hop genre.
Born Again is available as a numbered limited edition of 750 copies on crystal clear vinyl and comes in a gatefold

Clear Vinyl in limitierter Auflage von 1500 Stück. Die renommierte US-niederländische Gospel-Soul-Künstlerin Michelle David & The True-tones läuten mit ihrem neuen Album ,Soul Woman", das am 27. Februar 2026 bei Record Kicks erscheint, ein neues Kapitel ein. Aufbauend auf dem von Kritikern gefeierten Album ,Brothers & Sisters" aus dem Jahr 2024, das die Komplexität der Welt widerspiegelte, wendet sich die neue LP ,Soul Woman" nach innen - eine zutiefst persönliche Auseinandersetzung mit Identität, Heilung und spiritueller Widerstandsfähigkeit. ,Wie kann ich andere bitten, sich Zeit zu nehmen, um über ihr Leben nachzudenken, wenn ich das selbst nicht tue?", fragt Michelle David. Dieser Geist der Selbstreflexion und Erneuerung steht im Mittelpunkt von ,Soul Woman" - einem Album, das Verletzlichkeit zulässt und gleichzeitig Stärke ausstrahlt. Musikalisch verfeinert ,Soul Woman" die charakteristische Mischung der Band aus Gospel, Soul und Vintage-Rhythm & Blues und schöpft dabei aus einer breiteren Palette von Einflüssen. Anklänge an Curtis Mayfield, Bobby Womack und The Four Seasons pulsieren durch die Grooves, während das Gospel-Feuer der Blind Boys of Alabama und die fröhliche Ausstrahlung von Diana Ross & The Supremes dem Album sowohl Schwere als auch Glanz verleihen. Im Mittelpunkt steht Michelle Davids unverwechselbare Stimme - rau, warm und voller Entschlossenheit -, umhüllt von reichhaltigen, analog geprägten Arrangements ihrer langjährigen Mitstreiter Paul Willemsen (Gitarre, Bassgitarre), Onno Smit (Gitarre, Bassgitarre) und Bas Bouma (Schlagzeug). Gemeinsam stehen Michelle David & The True-tones an der Spitze der Retro-Soul-Szene - sie verbinden zeitlose Grooves mit moderner Dringlichkeit, unerschütterlicher Authentizität und herzlicher Leidenschaft. Eine Stimme, geboren in der Kirche, geschliffen auf der Straße. Michelle David wurde in New York geboren und wuchs in der Kirche auf. Mit nur vier Jahren begann sie zu singen und trat mit fünf Jahren ihrer ersten Gruppe, The Mission of Love, bei. Ihre kraftvolle Stimme führte sie um die ganze Welt, wo sie in gefeierten Broadway-Produktionen wie Mama, The Sound of Motown, Glory of Gospel und Mahalia mitwirkte und mit Legenden wie Diana Ross und Michael Bolton Aufnahmen machte - alles bevor sie ihre gefeierte Reise mit The True-tones begann. Gemeinsam haben Michelle David & The True-tones sieben von der Kritik gefeierte Alben veröffentlicht und die Bühnen Europas erobert, von Pinkpop über North Sea Jazz bis hin zum London Jazz Festival. Die Band ist bekannt für ihre mitreißenden Live-Auftritte, hat von Spanien bis Skandinavien Standing Ovations erhalten, ist in großen Fernseh- und Radiosendungen aufgetreten und hat sogar bei den Olympischen Winterspielen 2022 gespielt. Ihre Aufnahmen wurden ebenso gelobt: The Gospel Sessions wurde für einen Edison Award (das niederländische Pendant zum Grammy) nominiert, während Truth & Soul aus dem Jahr 2020 von Craig Charles' BBC Radio 6 Music zum Album des Jahres und von FIP (Radio France) zum Album des Monats gekürt wurde. Ihr jüngstes Album, Brothers & Sisters (2024), markierte ihr Debüt bei Record Kicks und wurde zu einem Durchbruch - gefeiert von Rolling Stone France, KEXP, Jazzthing Magazine (Deutschland), De Volkskrant (Niederlande) und BBC 6 Music. Ein Zeugnis der zeitlosen Kraft des Soul: Mit ,Soul Woman" bieten Michelle David & The True-tones mehr als nur eine neue Platte - es ist ein musikalisches Zeugnis der Widerstandsfähigkeit, eine Feier des spirituellen Wachstums und eine Bekräftigung der Fähigkeit der Soulmusik, zu heilen, zu verbinden und zu inspirieren. Gleichzeitig in klassischen Traditionen verwurzelt und neue Wege beschreitend, ist dies zeitgenössischer Soul vom Feinsten. Für Fans von Durand Jones & The Indications, Thee Sacred Souls, Jalen Ngonda, Sharon Jones & The Dap-Kings, Lee Fields, Mavis Staples.

No Way Out, released on the Tower label in September of 1967, was the debut album by the American garage rock band The Chocolate Watchband. Blending garage and psychedelic rock, its distorted guitar instrumentals were early examples of protopunk. It was their most heavily Rolling Stone- influenced LP. While No Way Out failed to reach the Billboard 200, it established the group as a popular live act. Largely overlooked at the time of its release, the album had gone out of print by the early 1970s and its reputation has continued to expand over the years.

The most popular acoustic folk music group of the 1960s, Peter, Paul and Mary mixed great songs with political and social activism. They brought folk music to a new prominence in the post-McCarthy era, putting lyrics about politics and morality on the radio amid the syrupy boy-girl love tunes that dominated the airwaves. Presented here is the trio's debut album, originally issued in 1962, the splendid selftitled Peter, Paul and Mary. It features some of their most popular compositions such as 'Early in the Morning' and 'Cruel War', and great renditions of Hedy West's '500 Miles' and Pete Seeger's 'If I Had a Hammer'.

The bonus tracks were recorded live in San Francisco and Long Beach, California, late 1962: 'One Kind Favor', 'The Times They Are A' Changin', and 'If I Had My Way'. "The debut album by Peter, Paul & Mary is still one of the best albums to come out of the 1960s folk music revival. It's a beautifully harmonized collection of the best songs that the group knew, stirring in its sensibilities and its haunting melodies as it crosses between folk, children's songs, and even gospel. Peter, Paul & Mary, which hit the top spot on the album charts as part of a 185-week run, is the purest of the trio's albums, laced with innocent good spirits and an optimism that remains infectious"






f 6 ONE KIND FAVOR [Live version]






[m] 13 THE TIMES THEY ARE A' CHANGIN' [Live version]
[n] 14 IF I HAD MY WAY [Live version]






[f] 6 ONE KIND FAVOR [Live version]






[m] 13 THE TIMES THEY ARE A' CHANGIN' [Live version]
[n] 14 IF I HAD MY WAY [Live version]

On "Another Year Older," Larry Fleet cements his status as country music’s premier blue-collar soul-singer, delivering a masterclass in honest, salt-of-the-earth storytelling. Shifting his gaze toward the reflective milestones of adulthood, the White Bluff, Tennessee native trades the restless energy of his earlier work for a grounded, hard-won perspective on what truly lasts. The project seamlessly blends the grit of classic 70s country with the soaring, gospel-infused vocal power that has become his trademark, capturing the quiet dignity of the working class and the profound beauty found in the everyday. From the steady wisdom of the title track to the heartfelt odes to faith and family, Fleet treats the passage of time not as a burden, but as a teacher. It is a record for the dreamers and the doers alike—a soulful, unvarnished progress report from a man who has clocked the miles, felt the weight of the world, and realized that getting older is just another word for getting it right.

"Tonight At Noon" compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, Saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album "The Clown" (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on "Oh Yeah" (Atlantic SD 1377).

The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avantgard Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is appararently boundless. Mingus’s piano playing is deeply rooted in the blues, and his sense of tempo and lightness anhances these numbers, particularly in "‘Old’ Blues for Walt’s Torin".

In these compositions one already finds hints of Mingus’s later recordings. The most beautiful number is taken from the 1957 session and concludes the album: "Passions Of A Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album’s magic.

The dreamy harmonising of Everything But The Girl. The propulsive urgency of The Strokes. The lilting folk-pop of The Coral. The introspective songcraft of Belle and Sebastian. The bittersweet, lyrical side-eyes of The Beautiful South. Vona Vella have all these elements and so many more, all weaving together to form a contemporary sound both gossamer delicate and fiercely robust. Since their eponymous debut album in 2023 (released on Strap Originals, Pete Doherty’s label), the seed of their signature sound – wistful indie-pop harmonies, exquisitely blended male/female vocals – has not so much grown as erupted through the dream-pop meadow into a towering, flowering beanstalk.

Today, with their second album Carnival, the former indie-pop duo have spectacularly evolved into a dynamic five-piece band, with key musical contributions from the musicians they’ve so successfully toured with over the last two years, drummer Jake Bott (who they’ve known since they were 17), bassist Claud J Melton (who they found on TikTok through a search for a female bassist), and guitarist Dexter Howell (a friend of a friend). As a five-piece, their innate pop sensibilities are now newly bolstered by a confident, thrilling propulsion, izzy and Dan, still the main songwriters and vocalists, are thrilled with the sound, where the possibilities are endless. Vona Vella may be names after two flowers, but there’s nothing twee happening here.

Impatience is thrilled to present Leaving Memory, the latest album-length work by Piper Spray and Lena Tsibizova. Leaving Memory is a searing distillation of the duo’s ouevre - it’s eleven prismatic electronic seances combining for a mind warping wormhole with it’s own internal (il)llogic, where pop, ambient, and industrial music convene beneath a rugged HD of digital processing and brain fog. Equally rosy with nostalgia as it is ominously forward looking, Leaving Memory defies easy categorization and makes for an astounding, confounding listen.

By turns violently abrasive and disarmingly touching, Piper and Lena deploy sounds that fracture and disintegrate, burn up and explode, synthetic supernovas that give the record an unmistakable, inimitable texture. Song structures often abide by their own blueprint - heading in one direction before making an abrupt dive elsewhere. Bursts of vibrant colour lurk below layers of grayscale noise. Unidentifiable voices deliver secret messages from the murk. When rhythm’s emerge they ground the tracks to some unknown terrain and invigorate.

Lame Line veers towards the sweeter end of their spectrum, a hazy plaintive repetition increasingly lashed with friction, before Exit erupts with clanging rhythm and shards of distortion. Diagnosis is an almost sweet alt-pop song, Lena’s vocals yearning beneath a dubby shuffle, while Keeper Of The Void’s possessed incantations open up to a ripping, fried climax. Beryl Grey releases the pressure gauge, a gently lilting drift arpeggiating as the sun sets, and Lost Cars sweats through claustrophobic drones and bird song before the clouds part on a serene scene. Leaving Memory closes with Shin, offering a genuinely sweet resolution and a gentle landing back down to earth of either footsteps or fireworks, swelling synthesized horns and woodwinds, a kiss on the cheek for making it out the other side.

On Leaving Memory, Piper Spray & Lena Tsibizova share their uniquely discordant take on freaky music for unsettled minds, an intensely energized set that offers a deeply evocative, unimaginable otherworld for adventurous ears.

Piper Spray and Lena Tsibizova have been producing music together since 2020. Leaving Memory is the first to be presented in the LP format. Piper has previously released music via Orange Milk, Hausu Mountain and Gost Zvuk, as well as his own Singapore Sling Tapes label. Lena works predominantly as a photographer, and together Piper and Lena have released music via radio.syg.ma and Kartaskvazhin. Both make music as part of Air Krew, who have released music on the Echotourist and Motion Ward labels. They’re both currently based nowhere.

Leaving Memory was written, produced and mixed by Piper Spray and Lena Tsibizova, and mastered by Sergey Podluzhniy. Cover photo by Lena Tsibizova, design and layout by Justin Sloane.

Stefan Missios, one of Gothenburg’s most distinctive and soulful voices, returns with his fourth solo album “Fæst i verkligheten” – a raw blend of Swedish folk, soul, groove, and gospel. With unfiltered emotion and poetic urgency, Missios explores themes of faith, longing, and resilience. The result is a deeply human record – timeless, rhythmically alive, and impossible to ignore..

Little Richard (1932–2020) was one of rock ’n’ roll’s founding fathers, known for his explosive energy, flamboyant style, and electrifying performances. With hits like “Tutti Frutti,” “Long Tall Sally,” “Lucille,” “Keep A Knockin’,” and “Good Golly, Miss Molly,” he brought gospel fire and wild showmanship to popular music. His groundbreaking sound and charisma paved the way for generations of rock, soul, and pop artists.

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the 60's & 70's, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound.

The fierce Brass of 'Whack, Slap & Blow' and 'Kaye Okay' could both be a Keith Mansfield cut, acting as a theme tune to a glamorous saturday night tv show circa 1972. 'Duck Strut' is a cheeky slice of Bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. 'The Needle Nose', 'Midnight Heist' and 'Wiretap' are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. 'Wigged out' channels the wonky organ weirdness of Italian library legends I Marc 4 while 'Nuclear Wind I & II' use Moog and Mellotron as electronic counterpoint to ethereal voices. 'Siren's sea's' acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer 'Planet Nine' traverses the cosmos.

Born to Dominican and Brazilian parents, xavi grew up bouncing from place to place, picking up inspiration wherever he landed. His first love was baile funk, but he was raised on classic hip-hop, eventually notching up production and songwriting credits for Vince Staples, Demi Lovato and Ariana Grande. But the major label life wasn’t giving; sick of the industry, he headed back to São Paulo to soak up the atmosphere and connect with artists on the ground. Before long, he started uploading quickfire bangers to SoundCloud – at this point there are over 350 of them on his feed – an »evolutionary playlist« in his own words, bursting with ideas.

»balança e paixão« is his debut release, proper, a 12-cut snapshot of chaotic, trailblazing, turbulent genius – bending thrashed rhythms into relentless vocal chops from a laundry list of young brazillian MCs. Built on ear-zizzing »tuin« hits and razor’s edge cuts, he creates hypnotic ripples that wedge themselves between São Paulo’s weirdo fringe (artists like JLZ and Iguana) and the percussive, MC-heavy sound of funk ritmado, one of the contemporary scene’s most vital and recognisable strains. Crucially, you can hear a Photek-like approach to space in his productions too, filling the gaps with metallic clangs to lend his rhythms their own unique dimension. The flipside takes it slower, deeper. On »sei q tu gosta« (I know you like it), DJ Leal Original and MC Vuk Vuk’s voices are transformed into ghosted sibilances next to xavi’s sonar pings and woodblock hits with an almost avant-dancehall slant, like some choice Equiknoxx dub, while on »cuidado bandida« (be careful bandit), he deploys bone-rattling trills that bite down on atmospherics that wouldn’t be out of place on Akira Yamaoka’s »Silent Hill« OST.

Repress!

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. The fourth edition of the series pays homage to one of the most loved names in house music – Sandy Rivera. Known for his soulful dancefloor cuts he has produced timeless classics, with his long-lasting career and multitude of aliases captured by this 12” release. Opening the A-side is the Moodymann Edit of Kings of Tomorrow’s ‘Fall For You’, featuring the stunning vocals of long-time collaborator April Morgan, followed by Sandy’s grooving ‘Come Into My Room’ which features LT Brown. On the flip is Soul Vision’s ‘Don’t Stop’ with its atmospheric strings and gospel vocal. The release is closed with Kings Of Tomorrow featuring Elzi Hall ‘Show Me’, an atmospheric club cut that shows the versatility of this house legend.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

With their upcoming sixth studio album, “What A Time To Be Alive” , The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection. Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel. The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

Tomos is no stranger to reinvention. Over the years, his sonic explorations have spanned genres, yet one thread has remained constant—his deep-rooted connection to house music. His earliest co-releases under the alias Vanguard were high-energy French House cuts, built on the foundations of crate-digging and sample collage, channeling the spirit of Daft Punk and the wider French electronic movement.

Now, 15 years later, he returns to those techniques with a fresh perspective, releasing his latest EP Soul Feels Good through the esteemed Noire & Blanche.

Soul Feels Good isn’t just a nod to the past—it’s a showcase of the vast influences that drive his ever-evolving sound. Tomos weaves together an intricate patchwork, merging the meticulous sampling techniques of his early career with a broader, more mature musical palette. The result? A genre-fluid blend of Jazz, House, Dub, Soul, Gospel, Broken Beat, Downtempo and Disco—stitched together with the finesse of an artist who has spent years honing his skills.

For listeners who appreciate the craft of sampling and fans of genre-defying, groove-driven music - Soul Feels Good is a record that demands attention.