quête:the hers

Donny Hathaway's first studio album Everything is Everything is a significant work in the realm of soul and R&B music, released in 1970. It marked an important point in Hathaway's career and showcased his exceptional talent as a singer, songwriter, and pianist.

The album was Hathaway's first release after being signed to Atlantic in 1969. Hathaway had already built a reputation early in his life, first as a gospel singer as a child under the name Donny Pitts. Raised in St. Louis, with religious influences, his grandmother Martha Crumwell was herself an accomplished gospel singer and guitarist. After dropping out of Howard University in 1967, Hathaway moved to Chicago, his birthplace, and started working on music for Curtis Mayfield's Curtom Records label where he was a songwriter, producer, arranger, composer, conductor and session player.

Everything Is Everything was produced by Hathaway and Ric Powell, who plays drums and percussion on the album; Hathaway wrote or co-wrote five of the album's nine songs. Hathaway had met Powell while at Howard University, as well as the future Impressions lead singer, Leroy Hutson, who jointly wrote the hit song that would eventually make it on the album, "The Ghetto."

The track was mostly an instrumental, except for Hathaway's vocal ad-libs and his singing of the chorus. Hathaway and Hutson composed another socially conscious song for the album, titled "Tryin' Times." Other songs were split between covers (Ray Charles's "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black"), spiritual affairs ("Thank You Master for My Soul") and love songs ("Je Vous Aime (I Love You)").

Released in July 1970, the album peaked at No. 73 on the Billboard Top 200 Albums chart and No. 33 on the Billboard R&B Albums chart.

This timeless classic is now reissued in the definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) format.

Starring Audrey Hepburn and George Peppard, Breakfast at Tiffany's was one of the most popular and iconic films in the history of American cinema. This release presents Henry Mancini's complete album Breakfast at Tiffany's. As a bonus Audrey Hepburn's version of "Moon River" from the film (both singing and accompanying herself on guitar) has been added. The complete album +1 Bonus track - 180 Gram Virgin Vinyl - Limited Edition.

Wewantsounds continues its extensive Meiko Kaji reissue program - in partnership with Teichiku Records and Kaji herself - with the release of Yadokari, her third album from 1973. This marks the first time the album has been reissued on vinyl, featuring its original artwork and newly remastered audio. Renowned for her iconic 1970s films (Lady Snowblood, the Stray Cat Rock series) and admired by Quentin Tarantino, Meiko Kaji also released a string of outstanding albums on Teichiku, blending Japanese pop with cinematic grooves. Yadokari, is reissued here with its original deluxe gatefold sleeve andOBI plus a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. As a special bonus, this edition includes a 7" EP single featuring Shura No Hana, famously featured on the Kill Bill soundtrack.

On the heels of MYRKUR's universally praised debut EP, comes M, the Danish black metal phenom's highly anticipated first full-length album. Recorded in various locations of Oslo, Norway (including renowned artist Emanuel Vigeland's mausoleum) with co-producer Garm (the mastermind behind black metal legends Ulver) M finds MYRKUR achieving the grandiose heights that everyone hoped she would climb to. The melodies are lush and the brutality devastating--M is a highly developed metal masterpiece that blends second-wave black metal, Nordic folk music, classical instrumentation and haunting choirs. Rounded out on record by members of Mayhem, Dodheimsgard & Nidingr plus a guest appearance from Christopher Amott of Arch Enemy, MYRKUR has quickly established herself as one of the best and most intriguing acts in metal today.

Detroit house and techno staple DJ Holographic launches her new label, Through The Veil, with the release of her newest 12” EP with influences that trace back to the Detroit funk of the ‘60s. ‘House In The Dark’ part of a new body of work that will channel Holographic’s deep ties to astrology.

DJ Holographic’s spiritual journey has taken her deep into the practice of shadow work, a type of psychotherapy that allows her access to repressed parts of herself, finding answers about everything from her childhood experiences to romantic relationships to creative blocks. Born and raised in Detroit, this experience of inner exploration has educated and empowered her and serves as the inspiration behind her new project.

Holographic will debut this extremely personal work fully uninhibited on her new label. The releases correspond to each zodiac sign and will arrive monthly alongside her busy tour dates as she bears the flag of Detroit through global electronic music’s most regarded spaces/parties.

"Movements of Air" is the highly anticipated fifth album from Daniel Herskedal's acclaimed trio, featuring Eyolf Dale on piano and Helge Andreas Norbakken on drums and percussion. Marking his tenth remarkable release with Edition Records, this album seamlessly bridges his foundational trio debut, "Slow Eastbound Train," with previous masterpieces like "The Roc" and "Voyage."

Over the past decade, Daniel Herskedal has consistently pushed the boundaries of the tuba, crafting music that is both profoundly introspective and expansively cinematic. At its core, "Movements of Air" delves into themes of hope, the pursuit of a better future, and the very essence of musical creation. With masterful performances from all members and intricate compositions, Herskedal navigates the delicate balance between good and evil, war and peace. Tracks such as "The Olive Branch" and "Peace River Crossing" showcase his ability to create emotionally resonant soundscapes, while pieces like "Elements of Harmony" and "Harmonic Allusions" highlight his innovative approach to harmony and texture.

This album stands as a testament to Herskedal's extraordinary talent, transcending the traditional limits of his instrument to deliver music that is both emotionally compelling and artistically groundbreaking.

Daniel Herskedal's exceptional achievements further underscore his artistic prowess and versatility. His notable arrangement of"San Francisco (Be Sure to Wear Flowers in Your Hair)" for the 2019 film "The Last Black Man in San Francisco," produced by Brad Pitt, was later featured in Coca Cola's global 'Open Like Never Before' advertising campaign. His extensive collaborations include performances with prestigious ensembles such as the BBC Concert Orchestra, the Royal Norwegian Navy Band, and the Russian Patriarchate Choir of Moscow. His collaborative project with Marja Mortensson won the Norwegian Grammy in 2019, and in 2021,he secured The Ambies Award for Best Original Score and Music Supervision for the podcast "9/12." Additionally, his work with artists like Keaton Henson and Emilie Nicolas on their album "Out of the Fog" further highlights his versatility and collaborative spirit.

Coco Jones is redefining herself through her music and Why Not More? stands for everything Coco believes in; being more authentically herself, and encouraging others to do the same. Both the it- girl you want to be, and the best friend you hope to have. With vocals that inspire nostalgia while the themes and creativity speak to the modern woman, this album is a celebration of owning everything you are. In the words of Coco “you get me, and I get you.” Why Not More? Do more, be more, say more The R&B songstress’s album debut Candid, personable, and more real than ever A genre reset . Coco Jones has captivated the world with her timeless artistry, sensual voice and emotive songs to become R&B’s breakout artist

Taba voices a subtle yet surprising shift for the Japanese musician and producer Satomimagae. Observing and absorbing the fleeting scenes and sounds of life flowing outside of her home studio, Taba unfolds as a series of vignettes that document the personal and the universal. Satomi sings beyond herself in an orbit of souls and systems known and unknown, seen and unseen, in the present and in the strange flux of memory, leaving linear songwriting to rest for circuitous stories expanded and expansive in tone and texture. Following the logic of taba, a Japanese term for a bunch, bundle or grouping together of different things, the album is assembled as a loose collection of short stories. Shapeshifting into something like a poet-narrator, Satomi casts her writer's eye to the often perplexing shapes that form from quotidian events and exchanges defining our increasingly alienated age. Where Satomi's last full-length, 2021's Hanazono, bloomed from the lush soil of a private inner sphere, the bird's eye of Taba searches to place the artist_somewhere, somehow_within a wider, wilder world. Collaborations with other artists and musicians close to Satomi's universe further elevate the album's sweeping sonics. Synthesizer lines from Norio, who also helps define the album's visual identity through photo and video, enliven the tender ballad "Kodama." The bell-like Rhodes piano ringing in and around Satomi's guitar on "Dottsu" is played by Akhira Sano, who created the cover art for her 2021 Colloid EP. Yuya Shito's clarinet was the missing puzzle piece that completed "Spells," and it was also Yuya who mixed Taba with an ear for its organic textures and elegantly frayed edges, giving utterance to a distinctly different energy than Satomi's earlier expressions. The tonal and rhythmic play that lay the foundation of these songs also animates a colorful palette of melodic gestures, noisy resonances and pointed moments captured by Satomi's close-at-hand recorder. While Taba is still carried by the innate intimacy that has defined Satomi's music to date, these songs channel her newly spacious and inquisitive songwriting approach, unlocking unusual layers in the process. Some are subsumed in the speculative poetics of sound design, while others peer through the window of bedroom pop. Gathering imagistic reflections, tracing vast ideations and quietly lingering in humble moments, Taba connects vivid lines between the individual and the collective, the constructed and the cosmic, the articulated and the felt. Satomi's sonic tales gain an eloquent coherence by the simple fact of existing in conversation, humming a harmony of parts that buzzes with the tangled circuitry of a life in motion. Taba is the fifth album from Japanese musician, songwriter and dream traveler Satomimagae, following her 2021 album Hanazono and the 2023 reissue of her debut album Awa, both for RVNG Intl. On Taba, Satomimagae leaves linear songwriting to rest for circuitous stories expanded and expansive in tone and texture, unfolding as a series of vignettes that document both the personal and the universal. Some of the songs on Taba feature intimate moments captured on Satomi's hand recorder, poetic moments of sound design animated by tonal and rhythmic bedroom pop foundations. As with Hanazono, Taba's album artwork features a wooden block print by Satomi's sister, the artist Natsumi Magae.

Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes cruel deception of human perception. Who will conduct our dreams if we never wake?

It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads (ACOLOUR041), Funke's Seance (ACOLOUR035) and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child.

Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

Blurring the lines between the mundane and the mystical, ESKA’s latest album, ‘The Ordinary Life of a Magic Woman’, is a profound exploration of motherhood, artistry, and the delicate dance between daily rhythms and creative transcendence. For ESKA, these aren’t opposing forces—they’re inseparable threads in a richly woven life.

“It’s the sound of a first-generation, middle-aged African British woman living in post-everything Southeast London,” ESKA reflects.

After two decades of trailblazing collaborations with world-renowned artists – Moses Sumney, Grace Jones, Radiohead and Baxter Dury, to name a few - along with various accolades - including a Mercury Prize Nomination, ESKA’s new album stands as her most personal and compelling work yet. A self-directed journey, it sees her embracing her ultimate creative partner: herself.

Rooted in her eclectic musical upbringing, ESKA pulls inspiration from the sounds and influences that have defined her journey, breaking free of conventional boundaries. The result is a body of work that defies easy categorisation—bold, dynamic, and unmistakably hers.

Blurring the lines between the mundane and the mystical, ESKA’s latest album, ‘The Ordinary Life of a Magic Woman’, is a profound exploration of motherhood, artistry, and the delicate dance between daily rhythms and creative transcendence. For ESKA, these aren’t opposing forces—they’re inseparable threads in a richly woven life.

“It’s the sound of a first-generation, middle-aged African British woman living in post-everything Southeast London,” ESKA reflects.

After two decades of trailblazing collaborations with world-renowned artists – Moses Sumney, Grace Jones, Radiohead and Baxter Dury, to name a few - along with various accolades - including a Mercury Prize Nomination, ESKA’s new album stands as her most personal and compelling work yet. A self-directed journey, it sees her embracing her ultimate creative partner: herself.

Rooted in her eclectic musical upbringing, ESKA pulls inspiration from the sounds and influences that have defined her journey, breaking free of conventional boundaries. The result is a body of work that defies easy categorisation—bold, dynamic, and unmistakably hers.

We are excited to announce the release of the highly anticipated 7-inch single from the rising singer-songwriter Mei Watanabe, created in collaboration with Shinichi Osawa (MONDO GROSSO). This special release marks the debut of the track on vinyl, and it includes the previously unreleased Shinichi Osawa DJ edit on the B-side, making it a must-have for collectors and music lovers alike.

This new single, which reflects Mei Watanabe's exploration of questions about the uncertain world we live in today, was created through over six months of sessions between Watanabe and Osawa. Inspired by Osawa's artistry and music, the track features lyrics penned by Watanabe herself, showcasing her unique vision and voice.

Since its digital release last October, the song has been featured as a Power Play on FM NORTH WAVE and CROSS FM, among many others, and has been receiving significant airplay, generating excitement and buzz across the airwaves.

Meet Me in the Garden is a richly textured exploration of love, loss, and renewal. Co-produced by Felix Bloxsom (SIA, Genesis Owusu), Daniel Mougerman (The Bamboos), and Rita Satch herself, and mixed by Grammy-winning engineer Ben Kane (D’Angelo, Emily King), the album features contributions from some of Naarm/Melbourne’s finest, alongside a sweeping 12-piece string orchestra.
Blending smooth soul, contemporary R&B, orchestral flourishes, and stacked harmonies reminiscent of D’Angelo and Bilal, the album unfolds with cinematic beauty and emotional depth. It opens with a stirring string prelude by Mougerman before transitioning into the dreamy title track. Standouts include the meditative Breathe, the funk-fuelled Joyride, and Warrior Princess - a heartfelt tribute to Satch’s late grandmothers that helped her process grief through song.
Rooted in personal loss and spiritual growth, the album draws from Satch’s Kabbalistic studies and her belief in reunion beyond this life. With its timeless soul and modern edge, Meet Me in the Garden is a bold, soul-stirring debut that leaves a lasting impression.

Florilegium, the debut album from songwriter Uwade, winds through genre, through death, break-ups, friendship, and failure. Here, she wanted to honor as much of herself as she could — her family and Nigerian heritage, her scholarly tendencies, her background in choirs, the literature that moves her, the melodies of artists like Fela Kuti, Yebba, and Julian Casablancas of the Strokes, who inspired her to start writing songs at the inception of her music-making. Cerebral and curious, each musical moment feels tactile, deliberate, and thoughtful — but also fresh, like something just discovered. A shimmering anthology that finds sweetness and light in sorrow, an amalgamation of disparate influences and recording sessions seamlessly fitting together through her expressive, expansive voice.

Almost Like You Could ignites its art punk fire with Lucy Alexander proclaiming, “Everyone wants something to talk about / But not a minute to spare, so be brief.” Not surprising from a song that’s 1:54 (‘Higher’), but the raw honesty in her lyrics ring far after the music ends. Alexander, along with bandmate Luke Cartledge, place the propulsive power of their beliefs at the core of their debut full-length album, and their guiding motivation towards social justice is as fierce as it is welcoming. “Living as part of the queer community, and being queer myself, leads me towards supporting every person’s truth,” Alexander says. Scrounge’s songs skip to a fast beat, electrifying the entire album with a sense of empowerment. Their approach is OG punk: they make music for their peers and themselves. Only now, with a world of connections possible, they’re able to open arms wide for a far-reaching embrace. Alexander’s rich vocals give their sound its central force, anchoring the songs with confessional lines (“If this is the pinnacle, then I need a miracle/ Cause everyone’s laughing at me,” “There’s not much left/ this corpse I have to keep/ Above board.”). They sing about economic inequality, political corruption, environmental destruction, and collective change. “We’re inspired by those around us, and we write about what we care about. Art has always existed for us as a means of catharsis, a way of expressing something we might not be able to otherwise, and we hope our music can be that for other people too,” says Alexander. “I think I’ve actually written a filthy banger,” she states while re-listening to “Buzz/Cut”, a grunge-honoring hammer of a song that takes a journey from disappointment, to self-realization, to release. Alexander and Cartledge’s gratification in making an album they’re proud of mirrors the empowerment conveyed in their lyrics. A follow-up to debut mini-album Sugar, Daddy (Fierce Panda, 2022), Almost Like You Could came together over 18 months, in between “teaching, touring, graduation, and a wedding”, as Lucy explains, for the band always has a handful of shows coming up. It’s a strange outcome for a duo who first bonded over their mutual love of SOPHIE. “She radicalized the structure of sound, and revealed herself through it,” Cartledge explains. “That was a massive inspiration when we started playing together, stripping everything away to open up new possibilities as artists and as people." Having already toured Europe and the States, Scrounge is preparing to be on the road throughout 2025. In a world where the idea of true community is ephemeral, Lucy and Luke seek to foster it everywhere they play. And their belief in change is ultimately buoyed by hope. “I know that it’s never been this good,” they sing.

Kennedy Mann, indie singer-songwriter and lead singer of dream-pop band Highnoon, is a rising artist from the Philly DIY scene, in which she has become memorable for her poignant lyricism, tender vocals, and sharp melodic skill. Combining the analog sounds of dream pop, indie folk, and slowcore, Kennedy Mann's compositions strike you in the heart and linger like a bittersweet memory. Kennedy's journey as a songwriter began with the debut of Highnoon's first album Semi Sweet, a project consisting of self-written pop-rock tunes. As Kennedy continued to write, she quickly gathered a collection of demos that felt too intimate and singular for the traditional rock band format - a world of music she kept to herself like a secret. Kennedy finally launched her solo project in 2023 as a way to bring some of her most personal musical ideas to life. A prolific songwriter and creative force, she began performing her original acoustic demos on TikTok, quickly building a small devoted following around her vocals and songwriting. Through TikTok, Kennedy began to build her own music community, befriending fellow songwriters Kai Warrior, Tofusmell, and Leith Ross along the way. In recent months, Kennedy Mann embarked on the European leg of Leith Ross' first headline tour, allowing her the opportunity to bring her idiosyncratic talents to the world stage. In July of 2023, she released her debut solo single ?Crooked," a charming Kimya Dawson-inspired slowcore track that finds Kennedy pining over her partner's ?ugliest? and most undesirable traits.

DJ Support: Walla P (Voyage Funktastique), Zackey Force Funk, Soul Clap.

Moniquea brings it back to the west coast streets that shaped her. 'Womp In My Spirit' is a direct ode to the California g-funk sound that has also inspired much of her previous output in the modern funk vein – This time it's just in the form of a rap song, co-produced by Moniquea herself & XL Middleton, who is also featured on the track.

On April 4th, Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes will release her fifth full-length album ‘A Requiem’. It comes alongside news of her signing to London imprint, One Little Independent Records. ‘A Requiem’ collects ten haunting, ambient soundscapes - incantations of dreams and nightmares, of death and grief, as well as power and autonomy. Carnal, transcendent cello drones are used to exorcise historical and generational traumas in an evocative and macabre piece of gothic experimentalism.

Seeking solitude for what she knew would be an intense and cathartic writing experience, Trappes travelled to Scotland and isolated completely. Amidst meditative and psychedelic states, she channeled demons and accessed parts of herself she’d long desired to cleanse. During candle-lit recording sessions she found herself drawn to cello, an instrument she has no formal training in, she explains, “I always felt an affinity toward the cello, I embraced it, held it, and became one with it as a way to accompany my voice. The nerve-like strings of the cello became external chords of my vocal folds… I scratched on them, leaned into them, and conjured all of the textures I could muster”.

‘A Requiem’ is a musical service in honour of the dead, a sanctuary Trappes built for herself to explore familial chaos and history. “I was looking for an equilibrium between a ‘heaven' and a ‘hell’” she explains, “screaming out to the wisdom of our foremothers - surfacing and leading me into true strength and beauty. I listened to the sorrow closely. Death is a part of our reality. Inevitable. Omnipresent. But nightmares can be beautiful”.

She continues, “This album is my personal requiem for my parents, my ties to the land where I was born, along with all of my epigenetically connected ancestors before them. The songs helped me summon up the strength to move through my own awareness of mortality, death, and impending loss. This album is a living funeral. It’s a ceremonial collection of music. It’s an externalising of the power and strength to fight the generations of abuse and darkness that my parents self-admittedly played out in their parenting and to keep it away from my own social patterns and my psyche. It’s not an uncommon thing in the world and this lamented warcry goes out to everyone to help exorcise patriarchal, political, and religious systems of abuses of power”.

Almost as soon as Σtella Chronopoulou began writing Adagio, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She wasn’t ready yet, or in a rush. Σtella, after all, grew up in a slow place. During her youth in a relatively rural suburb of Athens, Greece, she and her friends played unfettered in empty streets, not worried about cars or permission, and living felt easy. But in the last decade life has steadily become busier for Σtella, now based in the heart of Athens. She has become one of modern Greece’s most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Σtella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing its name from the term for music that’s meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. Though the bulk of it is sung in English, Σtella delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakelariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes. Start to finish, Σtella sounds more at ease and comfortable than she’s ever been on Adagio. These fetching songs will not slow her career or grant her that title track’s wish. But, for half an hour, Adagio adds a measure of warmth to the world, with time loosening its grip even if it doesn’t slow down.● Athens, Greece-based Σtella’s new album Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time.● Features Rafael Cohen and British songwriter Gabriel Stebbing.• Σtella’s breakout hit “Charmed” from her 2022 album Up and Away has nearly 100 million streams, and was recently featured in the hit Max show Industry.• On Spotify, Σtella has 3.4 million followers, 66k monthly listeners.

On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.