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Born in Victoria, B.C., and shaped by formative years in Vancouver, artist and producer Sophia Stel found a rapt cult fanbase with her 2024 debut EP Object Permanence, a fiercely vulnerable collection of genre-agnostic earworms fueled by her full-bodied, affecting alto. By following her intuition and going against the grain of online fads, Stel is setting trends, not chasing them - always creating from a place of true originality. Her self-directed, sometimes spurâÇ`ofâÇ`theâÇ`moment digicam visuals for tracks like "I"ll Take It" and "You Could Hate Me" have the fuzzy realism of vintage photos or cherished memories: effortlessly cool without ever trying to be. In addition to earning co-signs from Troye Sivan and A.G. Cook and being selected for this year"s DAZED 100, she recently made her runway debut at Ann Demeulemeester"s PFW SS26 show and embarked on her first headline tour, which included a performance at Pitchfork Festival in Paris, following the release of her sophomore EP How to Win At Solitaire. Continuing to push the boundaries of today"s music landscape while honing a truly singular, post-genre sound that"s all her own, Stel is currently working on her debut album.

London Based Deadbeat is a techno label founded in 2000 as an outlet for the more eclectic, risk taking and aggressive elements of the genre. Dedicated to unveiling forward thinking new talent, championing cult underground producers and celebrating established global acts the label has created a loyal fan base and now after more than two decades presents its first vinyl release, a massive six track EP that covers a lot of creative ground and features three artists well known for pushing boundaries while delivering face melting, dancefloor destroying beats.

Sane ( Don't Recordings / Fun In The Murky ) is a Uk based producer and techno DJ who has featured multiple times on the 'Best electronic music on bandcamp' pages. Described there by music journalist Joe Muggs as 'Filthy, dirty, vile and brilliant. His techno will tear the top off your head and make soup with the contents. It screeches, it blurts, it whistles, and it roars. Above all, it crashes and clangs like a dancing mech warrior, crushing all before it. What more do you need to know?'

TSR ( Analog Records / Hörspielmusik ) are a highly regarded creative force of Swedish musical mentalists, a crazed, technologically berserk band of electronic wizards who relentlessly conjure up the most brilliant, silliest, toughest, most dance bootable funky techno on this train of existence. Known for high-energy, raw, and sometimes humorous tracks they have released to high acclaim on many notable labels and played all over the world.

DJ Ze MigL ( Djax-Up-Beats / Minimalistix ) is first and foremost a DJ, but also a producer & a Dude! Creating crazy, funky and sometimes brutal techno mayhem. Residentially from Portugal, he’s been the one of most prolific Portuguese techno producer/ DJ during the last 25 years. Producing and Spinning his own special brand of honkin’ techno, not changing a single cowbell. Never too serious or dark, always with proper party ON!

The record additionally features full sleeve artwork by Ed Twist ( of the influential 'Ugly Funk' label ) and is pressed on yellow vinyl.

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Berlin Based DJ & Producer Johannes Klingebiel returns to Claptrap with “Dolce” a four-track EP served sweet, rich, and ready for peak-time indulgence.

Three original cuts and a heavyweight remix combine for a release that’s equal parts playful and potent. Consider this your sugar rush warning.

The title track, “Dolce,” is a warm and irresistible disco-house groover. Creamy acoustic drums lay the foundation while spicy xylophones and syrupy flute lines weave through the mix, striking a perfect balance between sophistication and pure dancefloor pleasure. It’s smooth, infectious, and built to move bodies.

Next up, “Follow The Line” blends shuffled house rhythms with 303 basslines and grainy vocal stabs. On paper, it’s an unlikely combination, on the floor, it locks tight. The result is hypnotic, driving, and effortlessly smooth.

On the flip, “Pink Forest” ventures into more mysterious territory. Built around an elusive, shifting time signature (one that even jazz-trained drummer Johannes struggles to explain), the track somehow feels both unpredictable and deeply groovy. It bends perception without losing momentum, a heady but danceable excursion into the unknown.

Closing the EP, Sun Damage delivers a remix of “Follow The Line” that both sharpens and distorts the original’s trajectory. Chunkier, weightier, and slightly off-kilter, this rework injects a tougher edge while maintaining the track’s hypnotic core, primed for late-night floors and heavy systems.

“Dolce” is indulgent yet refined, a release that balances musicality with movement, sweetness with punch.
Consume responsibly.

Chinaski opens 2026 with SOULMEEX record label exactly where he thrives best: suspended between nostalgia and futurism, melody and motion. Known for his synth-forward language and cinematic instincts, the Berlin-based producer delivers a release that feels both playful and sharply intentional, channeling emotion without sacrificing precision.

Across the EP, Chinaski revisits the spirit of Italo through a contemporary lens, shaping glistening arpeggios, buoyant basslines, elastic grooves and joyful synth stabs into five tracks that move effortlessly between the dancefloor and the imagination. There’s an unmistakable sense of lightness here-music that doesn’t overthink itself, yet is clearly crafted by someone who understands form, tension and release.

Rather than leaning on retro tropes, Chinaski treats dance music as a living, breathing language. The melodies feel familiar but never predictable; the rhythms pulse with warmth and confidence. An unforced sense of freedom runs through the release, inviting repeated listens and late-night moments alike.

With this EP, SOULMEEX sets the tone for 2026 with clarity and purpose, and Chinaski delivers the spell-subtle, melodic, and quietly irresistible.


LA-based producer Real Bad Man and LA musician Genevieve Artadi announce their new collaborative album Everything Is Under Control, out October 3rd via the producer’s own Real Bad Man Records. Alongside the announcement, the duo are sharing two new singles from the forthcoming album, “Don’t Gotta Think About U” and “Little Claws”. The former is an electro pop banger that propels Artadi’s intoxicating vocals to the forefront and arrives with an accompanying visual. With Everything Is Under Control, Real Bad Man is proving his versatility as a producer, crafting intricate and lively electronic-forward foundations for an old friend in Genevieve to explore an eclectic, funky approach to her vocals.

Speaking about the single, Artadi says, "'Don’t Gotta Think About U' is about a person celebrating the explosion of her most recent unhealthy romantic relationship. Her spitefulness and delusion of freedom indicate she’s still inside the pattern she hasn’t yet realized she keeps signing herself up for. The sound is melancholic pop, the thread that has always tied Adam and me together despite our musical differences."

"I love juxtaposing dense drums and a very pretty voice," Real Bad Man says of collaborating with Artadi. "That’s what 'Don’t Wanna Think About U' is. We’re also trying to make something catchy at the same time, that’s what I’ve always been drawn to musically is blending genres and moods and get them to work together. As well as pulling Genevieve away from what she does with Knower and her solo stuff.

Real Bad Man’s collaboration with Artadi is a radical shift in approach for the producer, whose previous full-length projects this year were rooted in the distinct strain of underground hip-hop that he’s amassed an extensive catalog in. Everything Is Under Control marks an entirely different, and unpredictable, sonic approach for the duo, embracing experimentation and synth-led electronica that’s reminiscent of Artadi’s work as part with Pollyn (her former band with Adam/Real Bad Man) as well as current duo KNOWER with Louis Cole. Real Bad Man’s latest project extends his prolific run of collaborations this year, embarking in a new genre and sound entirely after releasing full-length projects with ZelooperZ (Dear Psilocybin), Boldly James (Conversational Pieces) and Willie The Kid (Midnight) in the first half of 2025.

Known for her complex, yet playful writing style, Genevieve Artadi has made a name for herself through four solo albums that stretch the gambit of jazz, dream pop and dance music. The last three albums were released on iconic label Brainfeeder Records and the fourth (Another Leaf) was made as part of her being a composer-in-residence with Sweden’s Norrbotten Big Band. She’s also been an accomplished collaborator with her bands Expensive Magnets, Pollyn and KNOWER, and performing and recording with the likes of Thundercat and Snarky Puppy.

Check out “Don’t Gotta Think About U” and “Little Claws” above, see below for more details on Everything Is Under Control and stay tuned for more from Real Bad Man coming soon.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

DJ Support: Luke Una, Leftfield, Ewan McVicar, Optimo, Damian Lazarus, Jimpster, Hifi Sean, Lovefingers, Heidi Lawden, Justin Robertson, Damian Harris, Sean Johnston (ALFOS)

Electronic music icon Jon Dasilva continues to push forward into the future with “Sun Brings Joy”, alongside Swedish production compadre Skyskrapa and vocalist extraordinaire Donald Waugh.

Coming in a few different flavours, the Bass ID mix has already piqued interest on the socials... is it house? Is it techno? Is it bass music? Who knows, but Luke Una has already called it “the tune of the year”…
The package is completed with a remix from in demand genre bending dj/producer Spatial Awareness.

A mercurial producer, he has had a string of cutting-edge productions to his name spanning over two decades, on labels including Ellum Audio, Rush Hour, Soma, Mute, Deconstruction, Better Days, Eskimo, and many more. His early productions were considered seminal works, combining breaks, African influences, Acid and Bleep culture.

He is in the process of finishing a number of electronic projects for labels such as Balkan Vinyl, Mighty Force, I Love Acid and Hottwerk.

Real Bad Man and YUNGMORPHEUS are excited to announce their new album The Chalice & The Blade is out now. The album features Boldy James, Kool Keith, Grip, Blu, Fatboi Sharif, and more.

YUNGMORPHEUS is a highly innovative rapper that consistently endeavors to redefine the boundaries of originality and elevate the art of lyricism. Earlier this year, YUNGMORPHEUS dropped his critically acclaimed album “From Whence It Came” which received praise from The FADER, NPR, SPIN, and was hailed by QUIP Mag as “Everything you need from a hip-hop record.”

Since 2020, Prolific LA-based producer and designer Adam Weissman (Real Bad Man) has been on a sensational run releasing albums with Boldy James, Smoke DZA, and Pink Siifu. The Chalice & The Blade will be Real Bad Man’s third album of the year following his remarkable collaborations with Blu (“Bad News”) and Kool Keith (“Serpent”).

The Chalice & The Blade showcases a unique ambiance marked by a stoney and atmospheric quality, interspersed with elements of funk. Real Bad Man explains the album making process, "I always tailor the music to the artist I’m collaborating with. I sent Morpheus a bunch of beats that he’d sound good over and once he started picking them, that set the path. We’d record and I’d make more beats, and move stuff around, get rid of some songs and record new ones. It was a good process. I like being able to adjust as we go, I think that makes for a good album. We left some songs on the cutting room floor. Cream rises."

YUNGMORPHEUS discussing the new album, “‘The Chalice & The Blade’ is an album primarily rooted in dichotomies; contemplation of action vs action itself, inner locus vs outer locus, pursuit for self vs pursuit for others. Honesty is always the centerpiece. Play if you want cause I’m not!”

On The Chalice & The Blade, the seamless synergy between Real Bad Man and YUNGMORPHEUS takes center stage, showcasing an extraordinary chemistry that elevates every track to new heights of musical innovation.

As a torchbearer of gritty lyricism and unapologetic authenticity, Conway The Machine takes the helm to introduce the world to the burgeoning talents that make up the Drumwork roster, a powerhouse assembly of artists ready to reshape the landscape of rap music.

At the forefront of the album stands Conway The Machine, delivering blistering verses and commanding attention with his trademark grit and authenticity. But "Drumwork Collective" is more than just a solo endeavor; it's a collaborative effort featuring guest appearances by Rome Streetz, Benny The Butcher, 38 Spesh, and others. Each artist brings their unique perspective to the table, adding layers of depth and complexity to the project.

Behind the boards, producers like Beat Butcha, Graymatter, Trizzy Williams, and more craft a sonic landscape that's as gritty as it is innovative. From soulful samples to hard-hitting drums, the production on this compilation sets the stage for the lyrical onslaught that follows, blending traditional boom-bap aesthetics with a modern edge. Together, these elements form a cohesive tapestry that captures the essence of hip-hop's underground renaissance, proving that the beat truly does strike back.

Y-TRAXX'S "MYSTERY LAND" RETURNS ON VINYL WITH NEW REMIX BY ROY ROSENFELD:

The legendary trance anthem Mystery Land by Y-Traxx returns to the spotlight. First released in 1995, the track achieved iconic status after featuring prominently in the 2000 box-office No. 1 movie Kevin & Perry Go Large. The original track is now being reissued on vinyl. The release includes the Original Mix, the classic Sickboy Courtyard Mix, the Søluna Remix - winner of the Beatport Remix Contest - and a brand-new remix from Roy Rosenfeld. Available from 3 April via Serious Beats Classics.

With its hypnotic melodies, driving beats, and mysterious atmosphere, "Mystery Land" became a symbol of the 90s trance scene and grew into a cult classic. The track was picked up worldwide by influential DJs, including Paul Oakenfold, and featured prominently on his mix album Perfecto Fluoro (1996).

The new remix by Roy Rosenfeld brings a fresh, modern take to the iconic track, preserving the emotion of the original while adding a powerful peak-time, sunrise energy. Rosenfeld comments: "Remixing Mystery Land was an honor for me. I've loved this track for many years, so the process was very natural and fun. The vision came quickly, keeping the emotion of the original and pushing it into a peak-time, sunrise energy."

ABOUT ROY ROSENFELD:

Roy Rosenfeld is a leading DJ and producer in the house music scene, known for his warm, melodic, and instantly recognizable sound. Since 2009, he has built an impressive international career with releases on labels such as All Day I Dream, Lost & Found, and Rumors, and with iconic tracks like Epika and Kala. His music receives worldwide support from top artists including Solomun, Black Coffee, and Keinemusik. Alongside his studio work, Roy is a highly sought-after performer at clubs and festivals around the globe and the driving force behind the successful No Drama event concept in Tel Aviv.

This release combines nostalgia with contemporary trance production, offering both longtime fans and a new generation the chance to experience this timeless classic in a refreshed form.

Welcome to the SKA BEAT!.
The sound that came from Jamaica between 1961-67.
Based on the American RnB and Doo-Wop records that Sound Systems in Kingston Town used to play.
The American records style started to mellow out while the Jamaican preferred a more upbeat sound..
So to meet this demand the Sound System bosses became record producers to cater for this demand.
Sir Coxonne and Duke Reid lead the way by putting the top musicians on the Island in the studio to make this Ska Sound!!
Here for your enjoyment is a selection of the some of the top tunes that made Ska so great...
We hope you enjoy the best....

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

‘Distracted’ is Thundercat’s fifth studio album, featuring contributions from an incredible cast of friends including A$AP Rocky, WILLOW, Tame Impala, Lil Yachty, Channel Tres, and a long awaited collaboration with the dearly departed Mac Miller. The record was primarily created in close collaboration with a new creative partner – the super-producer Greg Kurstin – plus Flying Lotus, Kenny Beats (Kenneth Blume) and The Lemon Twigs. In the six years since his GRAMMY-winning album ‘It Is What It Is’, Thundercat’s star has risen: playing stadiums worldwide with Red Hot Chilli Peppers with Flea naming Thundercat “the best bass player on the planet”; performing live with A$AP Rocky, Steve Lacy, Tame Impala, Gorillaz, Silk Sonic, Erykah Badu, Spinal Tap, Yo Gabba Gabba; collaborating with Haim, Smino, Kaytranada, Kamasi Washington and Justice. He also branched out into acting with a role in Star Wars: The Book of Boba Fett. His warm, playful presence is never too far away, and life’s all the more enlivened by it.