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More than two years after the release of 'Impressões de Outra Ilha', Discrepant's head honcho returns home under his birth name with the appropriately titled 'Exotic Immensity'. Conjured from the seeds of an exhibition of dioramas at Le Bon Accueil in Rennes, this double LP feels quietly epic in scope, a sprawling travelogue through imagined scenarios and what if possibilities. Discarding the more rough around the edges collages of previous works under a myriad of aliases - Discogs it, if you will -, Cardoso's approach here is more meticulously composed, with seamless transitions within his own personal soundworld giving way to this hallucinated landscape of field recordings, subtle electronic tweaks, cascading patterns, queasy ambiences and kösmiche-like synth harmonies.

Perfectly embodied in Evan Crankshaw's cut up poem, filled with occult and sci-fi references such as Agrippa's Book of the Occult, William Blake's Book of Urizen, Dr. Moreau or 50's pop-science books, the music on 'Exotic Immensity' transverses time and cartography in a deeply personal matter, from the cricket-like textures and reverse loops of 'Réplica(s)' until the closing moments with the touching chord progression and mangled voices of 'Pó Nuno'. In-between, the foghorn meets bass clarinet melody of 'Ossos' recalls the unassuming but essential harmonic patterns of Laurence Crane, surrounded by an almost percussive sheet of field recordings that drift into the gliding synth tones of 'Desumanização (I & II)' until tape orchestral swells carry us into the aether. 'Aquário Novo Mundo' brims in an undisplaced cartography, from electronic marimba stabs to synth choirs, the call of the loom to labyrinthine keyboard harmonies and underwater radiance. Are we still here? Somewhere? The muffled looped rhythmic sequence of 'Imagem/Miragem', cut by the glow of cascading synths doesn't offer a reply. Nor does it need to.

'Exotic Immensity' exists on the perpetual outside. Blessed be Cardoso for showing us a way in.

Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Solid green vinyl. Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Black Metal, Symphonic grandeur and Deathcore brutality collide in the majestic new album from A WAKE IN PROVIDENCE. 'I Write To You My Darling Decay' is a swathing monster of a record, citing influences from all across the heavy spectrum. As one of the established veterans of the Blackened Deathcore movement, AWIP are now here to set their sights on total domination as they rise to the upper echelons of the genre.

*BLACK VINYL*Asher White's third album in two years (and fifteenth overall), Home Constellation Study is less a refinement of last year’s sly, quaint New Excellent Woman and more an explosion of it. Her meticulous chamber pop has given way to resplendent swells of horns and squeals of noise, throbbing bass and queasy orchestral loops. The cover, painted by White, frames a burst of flowers against a dark blue abyss, mimicking the music: over frenzied sambas, bleary slacker rock, hushed ambient meditations, and surprisingly slick disco. The past year has found the prolific Providence-based singer-songwriter ascending through her city’s fertile experimental rock scene alongside the breakout synth-punk act BabyBaby_explores and her labelmates Or Best Offer. Live, White’s band plays riotous, unpredictable noise rock that nods to their city’s storied DIY scene; on Home Constellation Study, mid-album highlights like “Downstate Prairie” and “Hymn” nod to Providence’s bands of yore with their blistering sheets of feedback and pummeling drums, placing White, improbably, within the lineage of local heroes Les Savy Fav or the broken pop dispatches of Black Pus. At its core, however, Home Constellation Study is the product of studied, monastic auteurism. Like New Excellent Woman, it was arranged, performed, recorded and mixed by White alone in her basement studio in Providence. “Happy Birthday” is an earnest psalm, a paean of devotion and remorse to God a la Beverly Glenn-Copeland that drifts along with Panda Bear haziness. White’s concept of “toxic femininity” undergoes further investigation on “Good luck!” and “Runes,” both with Elliott Smith-like chord changes and the barbs of cynical romantics like Aimee Mann. Asher White’s vision has never been so expansive and unpredictable.

Soundtrack LP of the iconic 1980 musical/comedy film the Blues Brothers!

Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”

Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).

"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave

After releasing their debut album in 2022 that showcased their signature mix of psychedelic and funk, Neighbourly is returning with two EPs that explore new sonic territory. The first, “Outside 311” draws inspiration from bands like Wet Leg and Parquet Courts with more post-punk and garage rock styles. The second “Alla Discoteca” takes a sharp turn and draws inspiration from bands like Altin Gun, Nu Genea, Masayoshi Takanaka and Khruangbin, with more dancey, disco styles and all Italian lyrics. Both EPs offer the listener a sonic adventure, full of twists and turns but with the classic Neighbourly psychedelic, funky charm.

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.

There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.

We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

Also available on Red Vinyl - Limited Edition of 200 Copies.

The second release to come out of Sound Metaphors’ collaboration with the Italian electronic music Don, Gianpiero Pacetti aka JP Energy. “I Have A Pessimistic Outlook Of Life E.P.” showcases a considerably more mature and polished sound relative to the previous release as the artist moves into the end of the 90’s and seems to shed the naive playfulness one could still hear in “Strano E.P.” with it's Italo-disco influences. Here things get more serious and even more “industrial” with a darker and perhaps more cynical tone, not unlike the title of the EP. A 3 track record, very much oriented towards the dance floor, “Fantastic Machine” comes in at over 130BPM with a very metallurgical flavour, something one could imagine hearing at a moving assembly line for car engine parts in a factory somewhere in Brescia, yet with an overlaying eerie nuance. “Automatic Sun” comes in with a very driving beat, the secret weapon of the release by all means, very effective employment of electronic percussive elements. And finishing the EP, Gianpiero’s Requiem to the format, a once record store owner who by 1999 might have already been feeling the tides of change brought in with the early CDJs (one could imagine) “The End Of Vynil” goes into full on electro territory with the beat and very much in tune with the title expresses a funerary darkness with the melodic elements. All in

Introducing ‘Total Blue’, the Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico. Despite collaborating for over a decade, ‘Total Blue’ represents a new chapter in their artistic journey together as a trio.

Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.

Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.

Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.

Art and design by Michael Willis.

Das Erlebnis, Mutter zu werden, prägte LIFE, die neue farb- und kontrastreiche Aufnahme der norwegischen
Geigerin. Samuelsen ist bekannt für ihre fantasievolle Programmgestaltung. Hier reflektiert sie musikalisch
in virtuosen Interpretationen über die unterschiedlichen Gefühle, die mit Elternschaft einhergehen können. Das Album präsentiert Musik von Olivia Belli, Bryce Dessner, Ludovico Einaudi, Nils Frahm, Jóhann
Jóhannsson, Mário Laginha, Hania Rani, Max Richter sowie Steve Reich, und auch Schubert findet sich
im Mix. Samuelsen wird auf dem Album von Musikerkollegen begleitet, darunter die Streicher von Scoring
Berlin unter der Leitung von Jonathan Stockhammer.
Die Idee zu LIFE kam Samuelsen nach der Geburt ihres ersten Kindes. Als sie mit ihrem zweiten Kind
schwanger wurde, nahm der Gedanke Gestalt an. Die Magie ihres leidenschaftlichen Spiels verbindet die
elf Titel, die junge Eltern ebenso ansprechen wie Menschen, die sich an die eigene Kindheit erinnern. »Ich
mache Musik, weil ich Geschichten erzählen will«, sagt Samuelsen. »Zwar sind es persönliche Geschichten,
aber ich möchte, dass sich so viele Menschen wie möglich darin wiederfinden.«

Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.



Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.



Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’



Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.



Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.



Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Welcome on Vibes Addikt !!
Label Owned by N.O.B.A, An artist with a large number of tracks that have been lucky enough to top the Beatport Top 100, but also the support of big names such as Amelie Lens, Mark Sherry, Nusha, Frankyeffe, Klaudia Gawlas, Frank Biazzi, Charlotte De Witte, Mha Iri, Sebastian Groth, Steve Shaden, Yves Deruyter ... and many more...

This 3rd Vibes Addikt present Dimitri Cooman
Belgium Techno and Hard Techno artist who play on all events from the legendary Cherry Moon Club (Lokeren.Be)

Born near Brussels, Dimitri fell in love with music early on.
The interest in house –and techno music grew since the start of going out to small venues and raves at the age of 16.

Soon he visited one of the mayor Belgian clubs, Cherry Moon, there everything changed.

Impressed by the "the club, the people, the music" he quickly fell in love with 'The House of House' and that love for the club would not change until this day.
During this period he started mixing himself, playing the music he loved from his homebase.

Since a while ago he is an official resident and one of the driving forces behind the Cherry Moon events, runs the techno imprints Cherry Moon Records & Nachtkabarett Recordings, manages the brand and parties of 'Techno Avenue' and tours with all of this all over Belgium whilst also playing on numerous techno events.

His EP's and remixes have also been released on Cherry Moon Records, the Berlin based Db130,the italian labels No Response Records and SMR Underground, Strohm Records, Dark Distorted Signals, Bonzai & Ithica Records, Sonaxx Records and soon Reload Records, DIKI records and Vibes Addikt.

He present on Vibes Addikt "Vanished Technologies" an Underground EP including a remix from Fhase87, French Artist who have support by Mark Broom, Ben Sims, Dj Rush ... and others big name

EP already supported by Frank Biazzi, Frauleinz, Samuel Sanders ... and many more

Bluets' debut on Kimochi Sound seamlessly integrates into the label's well established and distinctive style. This one, with a hand-sprayed sleeve as always, opens with "if you can imagine," a confident bit of microhouse that mixes rich melodies and a lively bassline. 'Action Potential' echoes RDMA's aesthetic with its precise beats and on the B-side you will find a vaporous melody that weaves through sparse downbeat house grooves to make for a dreamlike atmosphere. Closing the EP, 'Buong Bilog' features distorted IDM rhythms and a poignant refrain that balances twitchy textures with melancholic tones. This carefully crafted release bridges home-listening electronics with dancefloor clout.

The Circus is a place of lights and colors, but also of shadows, even darkness. Admittedly, it delights children and makes adults laugh. But you only need one rainy autumn evening near a circus tent and the smell of fodder to think of the sadness of the clowns, the endless training of the animals and the freaks who are hidden in some caravan... cinema, the essence of the circus – movement, light, danger and burlesque – will have been admirably rendered in Notes on the circus by Jonas Mekas (1966), one of the inventors of the filmed diary. With Cirque, Michèle Bokanowski does similar work, entirely dedicated to spinning, in the musical field.

She distinguished herself in particular in the composition of musique concrète, among others Tabou and Trois chambres d'inquiétudes, after having studied with Pierre Schaeffer and Éliane Radigue. The latter, great lady of drone and minimalism, fell under the spell of Cirque and wrote the booklet for the piece as a poem.

The piece, divided into five movements, is based on the handling and editing of recordings captured within one or more circuses (this is not specified and is of no importance) between 1988 and 1993. The initial allegro reveals the gallop of a horse joined gradually by other images. The idea of the circular space of the circus tent is immediatly and magnificently rendered and will be constantly recalled by an insistent use of the loop technique. Children's laughter, applause and drum rolls are thus sheared, repeated before being brutally interrupted. Accordion interludes and the distortion of sounds create a dreamlike atmosphere. This beautiful nightmare reminds us, to quote Éliane Radigue, the "Magic of childhood still living in the heart of man even beyond its abrupt end."

Words by Alexandre Galand, from the book “Field Recording – L’usage sonore du monde en 100 albums” (ed. Le mot et le reste, 2012)

Major member of the french musique concrète scene, Michèle Bokanowski was born on August 9, 1943 in Cannes, FR, to a musician mother and a writer father. She now lives and works in Paris.
Music lover since adolescence, it was relatively late, at the age of 22, that Michèle Bokanowski decided to study composition. Reading In Search of a Concrete Music by Pierre Schaeffer was decisive. After classical training on harmony, she met Michel Puig, a student of René Leibowitz, who taught her writing and analysis based on the Treatise of Schönberg. In September 1970 she began a two-year internship in the ORTF Research Department under the direction of Pierre Schaeffer. She takes part in the same time in a research group on sound synthesis, studies musical computing at the Faculty of Vincennes and electronic music with Éliane Radigue.
Her main works are intended for concert: Pour un pianiste, Trois chambres d’inquiétude, Tabou, Phone Variations, Cirque, L’étoile Absinthe, Chant d’Ombre, Enfance, Rhapsodia, Cadence, Elsewhere. She has also composed for theater (with Catherine Dasté), dance (with choreographers Hideyuki Yano, Marceline Lartigue, Bernardo Montet) and cinema: music for the short films of Patrick Bokanowski and his two feature films L'Ange ( 1982) and A Solar Dream (2016).

Sara May grew up on a dirt road just outside a small Ontario town known for its Honda plant and Potato Festival. Over the course of ten indie-leaning, alt-country tracks on 'Legacy', her latest album as Falcon Jane, she expounds on that origin story through the great archetypes of country music: the drinker, the vagabond, the absent father. She presents these characters with a clarity and empathy that feels almost transgressive-a loving touch that crosses our rural / urban divides. But these are Sara's stories too: her rural childhood, her move to Toronto, her current home in the working class town of Shelburne, and her life on the road. She comes by it honest. And the transformation on 'Legacy' isn't just lyrical. Alongside producer José Contreras (By Divine Right), Falcon Jane refine their sound-pushing toward folk and country like contemporaries Waxahatchee and Angel Olsen. May's voice, the one constant from 2015's 'Alive n Well' EP, through the dream pop of her 2018 debut album 'Feelin' Freaky', to the sprawling indie rock of 2020's 'Faith', is more powerful here, sitting atop the warm, Nashville-leaning production. The result is both striking and blindingly obvious: Sara May has found her way back home.

Sara May grew up on a dirt road just outside a small Ontario town known for its Honda plant and Potato Festival. Over the course of ten indie-leaning, alt-country tracks on 'Legacy', her latest album as Falcon Jane, she expounds on that origin story through the great archetypes of country music: the drinker, the vagabond, the absent father. She presents these characters with a clarity and empathy that feels almost transgressive-a loving touch that crosses our rural / urban divides. But these are Sara's stories too: her rural childhood, her move to Toronto, her current home in the working class town of Shelburne, and her life on the road. She comes by it honest. And the transformation on 'Legacy' isn't just lyrical. Alongside producer José Contreras (By Divine Right), Falcon Jane refine their sound-pushing toward folk and country like contemporaries Waxahatchee and Angel Olsen. May's voice, the one constant from 2015's 'Alive n Well' EP, through the dream pop of her 2018 debut album 'Feelin' Freaky', to the sprawling indie rock of 2020's 'Faith', is more powerful here, sitting atop the warm, Nashville-leaning production. The result is both striking and blindingly obvious: Sara May has found her way back home.

First-ever release of the long-lost original full length versions of tracks from Sheena’s 1985 hit collaboration with super producer Nile Rodgers. Remastered from the original master tapes and pressed on orange coloured vinyl with brand new artwork including full lyrics and rare photos.

Features the previously unreleased uncut versions of singles ‘Jimmy Mack’ and ‘Magic Of Love’, original alternate ‘Break Mix’ of ‘Do It For Love’ and 7 minute+ take on the rock-funk
workout ‘Don’t Turn Your Back’
This orange vinyl ‘Uncut Nile Rodgers Sessions’ edition of 1985’s dance-R&B orientated ‘Do You’ features eight previously unreleased full-length versions of tracks from the hit album.

‘Do You’ finds Sheena Easton hooking up with Nile Rodgers at his imperial 1980s superproducer peak - following mega hit productions for the likes of David Bowie, Madonna and Duran Duran. Easton fully embraces her new upbeat, pop-funk direction on tracks like the Top 30 US dance hits ‘Do It For Love’ and classic Motown cover ‘Jimmy Mack’, as well as sensual groove ballads like ‘Magic Of Love’ and ‘When The Lightning Strikes Again’.

The French-Mauritanian conductor, pianist and composer Leila Olivesi presents her sixth album ASTRAL - a brilliant opus with the best musicians on the French jazz scene. The albumis also her second with a large ensemble, the first being the acclaimed Suite Andamane,which received a coveted "Coup de Coeur" from the Academie Charles Cros.

A gifted composer, Leila was inspired by the great jazz masters, including Duke Ellington, and Mary Lou Williams. 'ASTRAL'demonstrates their influence and her talent for creating harmonic and melodious original music, full of modernity.

"Leila's music has compositional and conceptual integrity - recurring themes intertwine and morph through the title track 'ASTRAL', the trippy interlude 'Interstellaire' and the song 'Au Feu Des Reves'. There are surprises waiting around every corner, and she deftly avoids any hint of that tired old "head insolo-solo-solo-head out" formula. Odd meters dance effortlessly, and she's not afraid to swing! While her original music is the focus of this album, Leila's fresh arrangement of Mary Lou Williams' classic 'Scorpio' is a lovely bonus. This is fully contemporary acoustic jazz on a high level, with brilliant musicians that interpret and breathe her musical visions to life." - Geoffrey Keezer

Celebrated Norwegian singer and composer Susanna announces her new album, Meditations on Love, out August 23rd via her own label SusannaSonata. Having spent five years writing material, Meditations on Love reflects the complexities and difficulties of maintaining love. So many songs celebrate the giddy joy of a new connection or lick the wounds from a break-up, but Meditations on Love explores what happens in between, examining the work required by a healthy relationship and contemplating the conditions that turn love into something toxic. Susanna's mastery of balladry is well documented, but on Meditations on Love, she introduces a rhythmic presence new to her work. The result is one of Susanna's strongest and most dynamic recordings of her career. The Norwegian artist Susanna has released albums as Susanna and the Magical Orchestra/Susanna/Susanna Wallumrod since 2004 on labels like Rune Grammofon/ECM/Grappa Musikkforlag and since 2011 on her own label SusannaSonata. Critically acclaimed for both her own songs and her highly personal interpretations of other people's songs, she wanders lightly and intented between champer folk, avantgarde, electronica, jazz and independent pop. Highly riyl Joanna Newsom, Sufjan Stevens, Kate Bush

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

‘The Oakland band’s wide-ranging debut is a whirlwind of biting critique, nervy post-punk guitars, and absurdist humor. Rarely does a first record speak with such a trenchant voice.’ 7.5 PITCHFORK
‘Post-punk lovers have a new act to follow" - PASTE
Fake Fruit’s visceral indie rock operates so firmly in the present that it’s transportive and unmooring. The Oakland trio’s songs careen with volatile energy and lead singer Ham D’Amato’s lyrics are enveloped with acerbic humor and resonant perceptiveness. Though their new LP Mucho Mistrust is a sly reference to a beloved Blondie lyric, the title encapsulates both the anxieties of daily life, a bloodless music industry, and global capitalism as well as the clear-eyed skepticism needed to rebel against it. Across 12 propulsively unpredictable tracks, the album is both their most collaborative and most immediate yet.
Following the 2021 release of Fake Fruit’s self-titled debut LP, the band’s personal lives hit a turbulent and transformational period. “There were big life changes and I was so close to boiling over,” says D’Amato. “I left a bad relationship, entered a more stable and loving one, got diagnosed with alopecia, and I'm turning 30 soon too.” This personal upheaval was channeled into the explosive lead single “Mucho Mistrust.” The track is simultaneously disorienting and direct, with clanging guitars from Alex Post, off-kilter drums from Miles MacDiarmid, and D’Amato snarling, “How you gonna blame me / when you could’ve done something about it / it’s not right / How you gonna marinate me / in shitty things overnight.” She explains, “This song was a snapshot of how I got through a difficult year.”
Recorded live at the Bay Area’s Atomic Garden studio with producer Jack Shirley (Deafheaven, Home Is Where), the band’s palpable ferocity shines throughout the record. Single “Más o Menos” is searing punk, with buzzsaw guitars and surging bass. It’s a clenched-fist song, one where D’Amato sings, “I decided to assert myself / After I lost all my sense of self.” Later in the track, D’Amato, who is Chicana, sings in Spanish, “¡No me hables! / ¡No escuchare!” While some of these songs deal in heartbreak, they are charged with way bigger themes. “There's also wanting to break up with capitalism and feeling upset about things politically,” says D’Amato.
For the band, these themes are personal. “I'm managing us while I'm in between changing diapers in my day job as a nanny,” says D’Amato. “Everyone in the band still believes in it and is motivated to keep wading through the bullshit.” On this album, they had no choice but to bet on themselves and each other. No track broadcasts their evolution better than the single “Cause of Death,” which morphs from a gorgeous sax-laden banger to something cathartic and anthemic.
As adventurous and righteous as Mucho Mistrust gets, there’s still an inviting core that never takes itself too seriously. From the ripping “Cause of Death,” which self-deprecatingly takes aim at anxiety and indecision, to the searing title track, Fake Fruit imbue their songs with humor and heart. “Our band is fun,” says D’Amato. “My number one coping mechanism for all of life is to joke about it. Even when the album talks about serious things, I am proud of how funny it can be.”

The year 2020 sure wasn't the most ideal time to form a band, especially for a group of musicians who never played together before. But for New York rock quintet GIFT, this strangest of periods was the auspicious backdrop for a bold new sound - a dizzying blend of early shoegaze, classic `90s alternative rock and even modern pop. Indeed, that GIFT emerged somewhat fully formed on their 2022 debut album Momentary Presence was a testament to the creative possibilities laying deep within. Now, Illuminator, their Aug. 23 debut album for revered New York independent label Captured Tracks, is the long-awaited payoff of GIFT's ever-growing musical and human chemistry. And while nods are apparent to label forerunners such as Beach Fossils, DIIV and Wild Nothing, GIFT are shepherding those elements into wondrous new vessels for the present moment - sleek, often danceable and frequently mesmerizing. GIFT - vocalist/guitarist TJ Freda, multi-instrumentalists Jessica Gurewitz and Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell - are firmly enmeshed in the New York scene as talent buyers, photographers, DJs, audio engineers, art directors and, in the case of Campbell, an owner of the beloved Brooklyn DIY venue Alphaville. GIFT introduced Illuminator with "Wish Me Away," their first new song in the 18 months since the debut. With its earworm guitar lines, propulsive rhythms, riveting vocals and mind-expanding aural flourishes, "Wish Me Away" is the perfect sonic springboard from Momentary Presence to where GIFT are going next. It's also a potent reminder that you can still preserve that twinkle in your eye even when you feel like everything's slipping away. On songs such as "Light Runner", "Going In Circles" and "Destination Illumination," Freda demonstrates a newfound confidence and versatility, embracing pop music as a vehicle. The relentless, often painful dance of love has never sounded as exhilarating as on "Going in Circles," while the strident tone poem "Water in My Lungs" conjures the unreal feeling of watching a romantic partner both figuratively and literally fade from view. "This album has a lot of themes of going fast, time passing and things changing," Freda says. Throughout, Freda and company thankfully do much of the hard work for us: falling in love, heartbreak. Watching events and moments go by like cars on the highway. People you once knew coming in and out. Grieving the loss of different phases. Watching everything happen simultaneously. For these and many other reasons, Illuminator, friends, will be the soundtrack to the throughline of your life.

In these uncertain times marked by doubt and fear, hope is born in the hearts of those who believe that one day, humanity will resurface from the ashes of history to shed light on the dark territories.

To revive the spirit of resistance through sound, Detroit’s enigmatic SCAN 7 used its rethinkable frequencies to connect with a few chosen producers and craft an antidote to our orchestrated reality.

After months in their lab, SCAN 7 is happy to present Hallowed Ground, a six-track vinyl compilation freshly released on their new SCAN label. The compilation pays tribute to the epicenter of artistic, physical, and intellectual movement: Detroit.

The musical journey features the legendary AUX88, The Man With No Name, eMICee, Inohs Sivad, Charles Prophet Jr., Demiån Monét, Dre Brown, and of course, SCAN 7. This project also includes Scott Avery’s “Low-Key Seduction Mix” of SXERANADE on the digital release.

Hallowed Ground is a testament to the richness and depth of Motor City’s musical background. It encapsulates a diverse range of genres, from the soulful rhythms of Soul and Funk to the pulsating beats of Techno and beyond.

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

Lavender Vinyl. In the late 1970s, a peculiar sound began bubbling up from the land of 10,000 lakes. Buried beneath 50 solid inches of annual snow, Minneapolis made a Sound quite different than what the pop world foresaw. It issued forth as a slick, black, technologically advanced fusion, poised to storm the charts. Never known for sizable African-American populations, the Twin Cities of Minneapolis and St. Paul in fact harbored a tight-knit community of musicians working feverishly through the late '70s and early '80s toward a radical manipulation of American dance music, coating futuristic funk with the glamorous sheen of guitar rock. Synthetic ebony and ivory met electricity, with sexed-up results sent shockingly across the pop heavens like violet lightning.

10 years after its release, Lydia Loveless sits down at the piano for an intimate reimagining of her landmark album, Somewhere Else. Title track featuring guest vocals by Jason Isbell. “Over the last 10 years I’ve been told by countless people, emotional and earnest, that their favorite record of mine is Something Else. I love that, and I nod in amused reverence to it here. The me of 2012-2013 was drowning in pain and insecurity and my own press, pissed off that nobody could see me for who I really was, what I had really been through, and how hard it was to be me. I was walled in by fears and worries that I would never be good enough. I was struggling with my voice after a debilitating virus and a six week tour. I had rented a little room in the Grandview neighborhood of Columbus and was plugging away on my splintered acoustic guitar with a tape recorder.

I was frustrated as could be, not coming up with anything that I felt was 'me' or even remotely song like. One day, when I finally thought I had a nugget of something, I read the lyrics aloud to my then husband and he looked at me confused and said, 'what are you even trying to say in this, though? Who is the narrator?' I don’t remember what I said to that but I’m sure it wasn’t kind. When I went back into the studio with my friend Caeleigh Featherstone recording me this go round, she looked at me at one point and said, 'Were you singing these songs in front of old dudes? Like, your husband?' Yes, I was, I told her. We both shook our heads and laughed at the hubris on 22-year-old Lydia Loveless.” - Lydia Loveless

Reject 2 is Conway the Machine’s second solo mixtape on Griselda Records and is a sequel to his first mixtape The Devil's Reject.

The mixtape is produced entirely by Buffalo producer Daringer and boasts features from Westside Gunn, Benny The Butcher, Mach Hommy, Nes, Roc Marciano and Skyzoo.

Prelusion is the debut album from iconic recording artist Patrice Rushen, originally released on Prestige Records in 1974. The album effortlessly zigzags between Post-Bop and Jazz Fusion, and features contributions from legendary saxophonist Joe Henderson. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket.

Endlich erscheint das gefeierte 2019er Album als luxuriöse Doppel-LP!
Auf den 12 Tracks von 'The Situation' das zusammen mit seinen langjährigen Freunden und Wegbegleitern Kuma Harada, Walter Latupeirissa (beide Bass) Max Middleton (Keys), Juan van Emmerloot und Jeff Allen (beide Drums) entstand, erleben wir den Bluesmeister einmal mehr in Höchstform.

Der muntere Opener und Namensgeber des Albums lädt verheißungsvoll ein. In seinem unnachahmlich zurückhaltenden, "understated" Stil beleuchtet Snowy auf den folgenden Tracks unterschiedlichste Lebenslagen, stets untermalt und kommentiert von seinem markanten Gitarrenspiel. Das Ergebnis ist ein reifes, in sich schlüssiges und immens zufriedenstellendes Album.
Das erstmalig auf Vinyl erscheinende Album kommt als 180Gr. Doppel-LP mit Lyric-Sheet, wattierten Innenhüllen und markantem Spotlack-Effekt im Artwork, bei dem das Hauptelement herausgestellt wird. Die edle LP-Version ist streng limitiert auf 500 Stck.

Die Presse schrieb zum CD-Release:
Rock Hard 7.5/10: "Auf "The Situation" (Snowy White/Soulfood) begeistert der passionierte Les-Paul-Spieler einmal mehr mit einem wunderbaren Solo-Ton, aus seiner rauen, zerbrechlich wirkenden Stimme spricht darüber hinaus die pure Lebensweisheit. Geschmackvolles Blues-Album von einem Mann, der nichts mehr beweisen muss, es aber trotzdem tut."

Guitar 4.5/5: "…zwölf fantastische und lebhafte groovende Nummern…"

Good Times: "Starke Refrains, eingängige Melodien, reichlich Energie…"

Jazz Thing: "…eine Menge guter, von einer gewiss auch altersbedingten Nachdenklichkeit geprägter Songs. Sehr schön."

Break Out: "Eine Platte in die man ganz tief versinken kann."

Rocks 8.5/10: "White führt ein exzellentes Bluesrock-Dream-Team an…"

Classic Rock 7/10: "Eleganter Soft- und Bluesrock…"

eclipsed 8/10: "Grandiose Musik für ruhige Momente, die durch die warme und organische Einspielung gewinnt."

Legacy 12/15: "Auf jeden Fall ist Snowy & Co. ein hochwertiges Genre-Album gelungen, dessen zusätzlicher Reiz es ist, eben über die Grenzen dieses Stils hinauszuwachsen!"

Eine Zeitreise ins Jahr 2014 zu einem grandiosen Konzert des Wayne Shorter Quartet auf dem Stockholm
Jazz Festival ist „Celebration, Volume 1“, die erste in einer Reihe geplanter Archiv-Veröffentlichungen, die
Wayne Shorter noch selbst vor seinem Tod im Jahr 2023 kuratierte.
Diese energetische Live-Aufnahme fängt Shorters gefeiertes Quartett mit Pianist Danilo Perez, Bassist
John Patitucci und Schlagzeuger Brian Blade in Top-Verfassung ein. Zu hören sind Shorter-Klassiker wie
„Zero Gravity“, „Orbits“, „Lotus“ und „She Moves Through The Fair“.
Ausstattung 2-LP: 2 x 180g, Gatefold, Otimal-Pressung