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Matthew Herbert presents remixes by Floating Points, Seven Davis Jr and Herbert himslef as part of a special 12" vinyl RSD 2023 release. The remixes are of tracks from 2021's full length album Musca, an instinctive return to the ‘domestic house’ series that started back in 1998 with Around The House and the 2001's Bodily Functions.

Original, unreleased session recordings from Seth Lakeman featuring Ethan Johns, Jeremy Stacey, John Smith, Nick Pini and Alex Hart. Recorded in just 10 days in late 2020 at the Bert Jansch Studio in Frome.

Banff, Alberta… a picturesque Western Canadian mountain town, famous for natural beauty, kitschy tourist shops and incredible nightlife. It’s this last attraction that provides the inspiration for Dragon Fli Empire’s newest opus, “Banff Avenue”. The two-man team of DJ Cosm and Tarik Robinson (aka Teekay) return with their first album since 2013’s “Mission Statement” and it’s a purely in-house effort with that 100% DFE formula of thumping, melodic beats by Cosm and Teekay’s smooth and intelligent wordplay. The chilled-out vibes on this album are the perfect musical remedy for the chaotic year that is 2020. Download and stream this incredible project (complete with instrumentals) today!

Richmond, VA's SHY, LOW are back with a new EP, following their critically acclaimed 2021 Pelagic debut and 6th studio album Snake Behind The Sun. Shy, Low are true masters of the craft of stark contrasts and broad dynamics, from delicate crescendos to the sheer power of the riff_ a craft that lies at the heart of every outstanding instrumental rock record. The four-piece is conjuring up outstanding compostitions that are brimming with creativity, intensity and groove - music that is intricate and mature, yet gloriously anthemic at the same time. Though entirely instrumental, reducing the band's contemporary sound to the term ,post-rock" wouldn't do this EP justice: there is much more to it than lengthy dramatic build-ups and bittersweet melodies played by delay-drenched guitars. Babylonica is an astounding and immensely diverse EP that will appeal to fans sitting on all ends of the broad spectrum of modern heavy rock music. FOR FANS OF PG.LOST, THIS WILL DESTROY YOU, CASPIAN, AND SO I WATCH YOU FROM AFAR, RUSSIAN CIRCLES, MONO

"As long as you come to my garden", the sixth release in the cherished Die Schachtel’s series “Decay Music” as well as the debut of the duo Damāvand (Gianluca Ceccarini and Alessandro CIccarelli) on the prestigious Italian label, is a tribute to the Armenian troubadour Sayat Nova, through his lyrics and freely inspired by the cult movie about his life The Color of the Pomegranates (Nřan guynə, 1968, USSR) directed by Sergei Parajanov. The feature film tells the life of the poet, who lived in the 17th Century, from childhood in the royal court, to retirement until his death in the monastery of Haghpat, through a series of episodes, static like paintings that do not tell but show, evoke, they suggest through metaphors, analogies, surrealist flair, dreamlike landscapes, liturgical pauses.

The six tracks are inspired by the dreamlike imagery contained in the movie, weaving sound textures ranging from ambient to noise, to references to the musical tradition of the Middle East.

Gianluca Ceccarini and Alessandro Ciccarelli alternate, without fixed roles, with analog synths, drones, amplified common objects, generative music, audio samples from the film and acoustic instruments such as the tar - a stringed instrument of Persian origin, the trombone and the cornet. In addition, two of the songs on the album contain Sayat Nova’s poems recited in Persian by Nahid Rezashateri.

The sound materials are revealed gradually like episodes, evoking the visual suggestions staged by Parajanov in the movie. As long as you come to my garden is intended as an imaginative journey to distant spaces and indefinite archaic times.

DAMĀVAND is a musical project by Gianluca Ceccarini (electronics, electroacoustic objects, tar) and Alessandro Ciccarelli (electronics, electroacoustic objects, trombone, cornet)

Gianluca Ceccarini, guitarist, electroacoustic experimenter, luthier specialized in the restoration and construction of plucked musical instruments for early music. In 2021 his first album Starving Night was released for the netlabel Laverna and in 2022 the Sarab Label published a CD version. He also works in photographic research, video-art, graphics and independent publishing with the Sarab collective.

Alessandro Ciccarelli is an author who ranges between different languages: photography, video, sound. He is involved in several collective research projects in the musical and theatrical fields. His solo records are released under the nom de plume Elnath Project. The latest work, after six years of silence, from Italian berlin-based composer, performer and publisher (Black Letter Press) Claudio Rocchetti, and a welcomed return on the Die Schachtel imprint after the brilliant Another Piece of teenage wildlife (2008), Labirinto verticale (Vertical Maze) takes its origin from the four years long collaboration of Rocchetti with the Parma-based Fondazione Lenz, a contemporary theatre research collective/organization.

Erol Alkan further expands on his production for Duran Duran’s acclaimed 2021 studio album, ‘FUTURE PAST’, with a ceremonious, widescreen rework of the single ‘GIVE IT ALL UP’.

Recorded in London with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, as well as Blur's Graham Coxon on guitar, ‘GIVE IT ALL UP’ also features contributions from Swedish singer-songwriter Tove Lo, whose soaring vocals anchor the dramatic progression of Alkan’s sensitive reinterpretation.

Blossoming in unison with Le Bon’s own iconic voice and an insistent bassline that recalls the band’s innovative ‘Night Versions’, Alkan draws closer together Duran Duran’s legendary instinct for both pop music and the dancefloor alike. Expanding on this, the 12” includes a ‘Stripped Vox’ version which appears exclusive to the vinyl edition, arranged by Alkan for his own DJ sets and proven to be a powerful tool at clubs and festivals over the past few months.

Powel returns to All Day I Dream to release his newest celestial sonic masterpiece, the Piano Reeves EP

Enter the ethereal sonic realm of Paul Chriske, the German musical maestro known as Powel, who specializes in “creating harmonious illusions of sound.” Powel is a longtime family member of Lee Burridge’s All Day I Dream imprint, having first released on the label in 2015. Releasing his four track Piano Reeves EP on May 19, Powel returns to All Day I Dream to release his first record with the label since his The Beauty of a Polaroid album in 2020.

A pianist since youth, Powel's extensive experiences from a lifetime of performing with bands and orchestras has imbued his music with depth and complexity. Finding inspiration in the people and places he encounters on his travels, Powel draws from a vast and nuanced musical palette. Piano Reeves epitomizes Powel's unique touch as a producer, weaving together warm celestial vibes, airy atmospheres, and delicate rhythms.

Originally released as part of Perc's Greed Dance 12" in late 2021 Resistor has since taken on a life of it's own, receiving plays & support from I Hate Models, Randomer, Somniac One, Cera Khin, Umwelt, New Frames, Cassie Raptor, Ghost In The Machine and of course Perc himself. Now Resistor returns with three brand new remixes, each taking the original mix to entirely new places.

First up is UK underground hero and Skuxx Records main man Tassid delivering a festival slaying slice of sub heavy UK techno which has been Perc's closing track at his gigs, including at Awakenings in April, from the moment he heard it. Next Jensen Interceptor takes a completely differed approach dropping subtle elements of the original mix of 'Resistor' and a sprinkling of science fiction samples over a hard jackin' groove sitting perfectly between techno and electro.

Finally Berlin based Wallis, shows why she is leading the new school of French producers with a gritty industrial groove, with just the slightest hint of 'Resistor's infamous lead lines breaking through the dirt, to round off a diverse, yet satisfying remix collection.

Svart Records are ecstatic to present the first ever vinyl edition of the Mad Juana debut album Skin Of My Teeth. Limited to 500 copies and including a bonus CD with 5 home demos. Mad Juana were Sam Yaffa (Hanoi Rocks) and Karmen Guy, and Skin Of My Teeth will see the light of day for the first time since 1997. After the years spent as the bassist for Hanoi Rocks and Demolition 23, Yaffa began to search for new musical enthusiasm by exploring a wide range of different genres of music, while learning to play numerous new instruments. Mad Juana allowed him to step outside his comfort zone and redefine himself as a musician. “Re-mastered, the record will get a new life in the spring of 2023. The album that was created 27 years ago is still one of my favorite records. Written and created with my ex-wife Karmen Guy, the album is an inspired celebration of limitless musical joy, which combines rock'n'roll, punk, experimental music, a little bit of ethno and whatever came to our minds in the creative process" says Yaffa. Mad Juana's Skin of My Teeth was born in two countries and broke musical boundaries. “The album was first recorded at our home studio in the small Mallorcan village of Montuiri in Spain and finished at the late Hombre Laitinen's studio in Tikkurila, Finland. The album that also featured the percussion maestro, Affe Forsman was a turning point for me personally in creating music and my approach to it. All the rules and habits of making music learned previously were tossed aside, and a door to a new musical world was kicked wide open with a big boot", Yaffa describes the making of the album and continues excitedly, ”Re-mastered and with Svart's great album packaging, the album will hopefully reach the ears and eyes of those who might not have even known about its existence. I'm going to blast the vinyl to 11 as soon as I get my hands on it!".

"Release of 4 LP Set LIVE – London Roundhouse 11th June INDOCHINE has been part of the History of France for the past 40 years: from 1981 and the election iconic French president François Mitterrand, to this exceptional stadium tour. 6 shows 417,799 spectators ""Central Tour"" the first concert in the world filmed live for IMAX: No. 1 at the box office in 477 theaters (the biggest musical event ever broadcast in France). Concert recorded at the Groupama Stadium in Lyon on June 25, 2022 GUESTS: Christine and the Queens, Philippe Jaroussky,Lou Sirkis,Dimitri Bodiansky,La Musique de la Garde Républicaine Promo: Features London Macadam, Le Petit Journal
Live Reviews:, R2 , London Macadam, London Standard,Record Collector, Frontview, Rock n Load. Format; 4LP"

Recycled Col. LP

McKinley Dixon calls the late Toni Morrison the greatest rapper of all time; and the way he tackles topics like survival, violence, and religion within the expansive landscape of the Black experience, evokes her novels. It is from the title of Morrison‘s Beloved trilogy where he finds the title of his new album with City Slang Records: Beloved! Paradise! Jazz!? Musically his household was defined by “artists whose first name was Mary,” including Mary J. Blige and gospel duo Mary Mary. Discovering Outkast was formative for Dixon, deepening his love for hip-hop while he also grew curious about the more theatrical rock of groups of the day, bands like My Chemical Romance and Panic! At The Disco that his Maryland friends introduced him to. “Those groups also helped me with my sense of longing, since their music reflected a sense of longing,” he says. Eventually he channelled these competing influences into a debut EP he released in 2013. With time, his music became his primary means of self-expression, whether discussing Blackness or his own relationship with healing. Across his next releases, his style evolved and his confidence grew, especially when it came to live instrumentation. His 2021 debut album For My Mama and Anyone Who Look Like Her was a game changer, as Dixon set his sights on heartache and grief. “I was making these really dense and chaotic songs, stuffing whatever thought I had into five and a half minutes,” Dixon says of that project. Beloved! Paradise! Jazz?! is an attempt at channeling different impulses. Sometimes rough and other times delicate, this record is a journey into is a journey into the psyche of McKinley Dixon, with all of the of the attendant peaks and valleys.

Pacific Blue Vinyl, limited to 200 copies. From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG NASTY, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with DOWN BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records.

When he founded DON'T SLEEP with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, DON'T SLEEP was finally ready to release its debut album "Turn the Tide" in 2020.


And then the world came to a grinding halt. But after the dust settled, all five members decided that DON'T SLEEP was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM PETTY cover to the mix. The result is DON'T SLEEP's second full length "See Change".

Transparent green vinyl. From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG NASTY, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with DOWN BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records. When he founded DON'T SLEEP with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, DON'T SLEEP was finally ready to release its debut album "Turn the Tide" in 2020. And then the world came to a grinding halt. But after the dust settled, all five members decided that DON'T SLEEP was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM PETTY cover to the mix. The result is DON'T SLEEP's second full length "See Change".

Repress 2023!

Auf John Talabots Debütalbum "Fin" aus dem Jahr 2012 "baut der spanische Produzent auf seinem unverwechselbaren Sound auf - farbenfroh, nostalgisch, aber niemals retro, locker, aber leicht verwirrt - ohne sich zu wiederholen. ... Talabot ist zu einem Vorbild für eine neue Generation von Produzenten geworden, die an der Schnittstelle von Deep House, Disco und Indie-Pop arbeiten, und er hat sich seine eigene Nische irgendwo zwischen der Zeitlupen-Theatralik von Künstlern wie ... den weltumspannenden Juwelentönen von Four Tet und Caribou und dem Psych-Pop-Rausch von Animal Collective und Delorean geschaffen. ... Seine langsamen Tempi, übersättigten Farben und tropischen Akzente passen genau zu der benebelten, feuchten Tanzmusik, die derzeit in Mode ist, und er hat sich in einer geschätzten Kompanie wiedergefunden - er remixt The XX ...". Pitchfork Media - Kandidat für das Album des Jahres 2012.

In a world of endless, bottomless content, to find something that stands out from the crowd is a rare thing. But it’s something that 7ebra manage without breaking a sweat. Based in Malmö, twin sisters Inez and Ella Johansson deal in sparkling indie-rock that’s pretty without being soft, sweet without losing its edge and catchy without being cheap. With Inez on guitar and vocals and Ella on keys, organ and Mellotron, their minimal set-up makes a virtue of simplicity – with a sliver of guitar fuzz, and organ lines snaking around stark, striking vocals, augmented by shivering harmonies, they don’t need a lot to make music that’s colourful, kaleidoscopic, and effortlessly original.

7ebra debuted in 2022 with the double-single “I Have A Lot To Say”/ “If I Ask Her”, two helpings of psych-tinged, street-smart rock and roll, and the music scene around them wasn’t slow to notice. They opened for the Future Islands and the Dandy Warhols, were picked out by Apple Music’s Matt Wilkinson as a Hidden Gem of 2022 and were booked for prestigious showcases SXSW and Eurosonic. With a packed schedule of shows across Europe and the UK already planned for 2023, their world looks set to get a lot bigger – something that their debut album Bird Hour makes certain. The record is a warm, elegant introduction to the sound 7ebra have crafted. The songs are full of personality and character, but also retain a little bit of enigma, a sense of keeping something secret to themselves. To unwrap that elusiveness is a daunting task, but one the listener can’t resist leaping into.

Ella and Inez’s parents played in bands as they were growing up, so picking up music was a natural thing for them. The origins of 7ebra start with Inez whiling away the hours playing guitar in her bedroom. “I learned by playing covers by myself in my room”, she says. “Ella didn’t do that as much, but we sometimes played and sang together, country songs”. Eventually she would start writing her own. Ella wasn’t involved originally (“we did play together a few times”, she says, “and it just went to shit laughs. We fought a lot”), and Inez was originally reluctant: “I was a bit unsure whether I wanted to be in a band with my sister. Because you get clumped together all the time, when you’re twins”. But Ella was keen to join, and eventually persuaded Inez to let her join for a show. It went – so well that producer Tore Johansson (The Cardigans, Franz Ferdinand), saw it and asked if they’d like to record with him. That changed things, says Ella: “It made us think there might be something in this music”. As a duo, 7ebra were in flight. “In the end, it’s kind of a nice thing too being sisters in a band”, Inez says. “It doesn’t bother me anymore. It just made sense to play together”.

On the album that they eventually came up with, the talent that caught Johansson’s eye is immediately obvious. Opener “Secretly Bad” has a way of walking along your nerves, an eerie echo of a hymn in Inez’s vocal backed by a swirl of woozy blend of guitars and organ. That’s followed up by “I Like To Pretend”, an easily charming song that has a sleepy brightness about it, like morning sunlight breaking through a window. They take a couple of different genres for a whirl on Bird Hour – they’re tense and snappy on “If I Ask Her”, breezy and cocky on “Lighter Better”, and there’s even a couple of droplets of blues and folk in the mix, in the raw intensity of the emotions in the slower songs, the vulnerability and aching of songs like “Lean” and “Stripey Horsey”. The record has a way of sweeping you along in its mood and tones, fuelled in part by the band’s use of repetition, sometimes fast and fevered, sometimes crawling and hypnotic. The duo’s musical input blends perfectly, with Inez’s guitar and vocals forming the core, and Ella drawing in the detail with keys, organ, and harmonies, to really bring out the vivid nature of the songs. Indie rock that’s melodic and sweet, but with enough shadow mixed in to make it really compelling.

On Bird Hour, what strikes you first about 7ebra’s sound is how fully formed it is, how much they’ve carved out their own sonic territory, perfected by trial and error in the studio with Johansson. “Tore wanted us to try everything possible”, says Ella. “We had moments where things weren’t working. But that was necessary in order to find the good stuff”. 7ebra’s signature might be found in the deft way they deal with emotion – unafraid of being open, but a little too clever to make things too clear cut: “You can’t take yourself that seriously. It’s too emotional to take it seriously, to start hating yourself. But at the same time, it is quite serious”, says Ella. Another trademark is the simplicity – a 7ebra song has just enough to make it work, and nothing more. “I think it was important for me that our voices were at the centre of the songs”, says Inez, “that all the little melodies have their place, and don’t get overwhelmed. With lyrics, I sometimes come up with something, and just feel ‘there’s no need to add more to this’. Sometimes a line works by itself. You don’t have to add a bunch of lyrics”. Finally, the album’s themes are ones that will resonate with most people that have set foot on this planet. “I guess it’s about trying to understand yourself, in relation to others. Just life. ‘Why am I not good at this, why is this thing happening to me, why is this thing so hard, why am I so stupid?’”, laughs Ella.

7ebra haven’t been around for very long – but a handful of songs and their fizzing live shows have stirred up the biggest buzz in Scandinavian music in quite a while. Their debut album justifies it all. It showcases the magic they’re capable of conjuring up, and hints at even more to come in the future. But from where they are right now, they’ve made something very special. Bird Hour takes all that promise and turns it into something concrete, in the form of one of the year’s best rock debuts.

In a world of endless, bottomless content, to find something that stands out from the crowd is a rare thing. But it’s something that 7ebra manage without breaking a sweat. Based in Malmö, twin sisters Inez and Ella Johansson deal in sparkling indie-rock that’s pretty without being soft, sweet without losing its edge and catchy without being cheap. With Inez on guitar and vocals and Ella on keys, organ and Mellotron, their minimal set-up makes a virtue of simplicity – with a sliver of guitar fuzz, and organ lines snaking around stark, striking vocals, augmented by shivering harmonies, they don’t need a lot to make music that’s colourful, kaleidoscopic, and effortlessly original.

7ebra debuted in 2022 with the double-single “I Have A Lot To Say”/ “If I Ask Her”, two helpings of psych-tinged, street-smart rock and roll, and the music scene around them wasn’t slow to notice. They opened for the Future Islands and the Dandy Warhols, were picked out by Apple Music’s Matt Wilkinson as a Hidden Gem of 2022 and were booked for prestigious showcases SXSW and Eurosonic. With a packed schedule of shows across Europe and the UK already planned for 2023, their world looks set to get a lot bigger – something that their debut album Bird Hour makes certain. The record is a warm, elegant introduction to the sound 7ebra have crafted. The songs are full of personality and character, but also retain a little bit of enigma, a sense of keeping something secret to themselves. To unwrap that elusiveness is a daunting task, but one the listener can’t resist leaping into.

Ella and Inez’s parents played in bands as they were growing up, so picking up music was a natural thing for them. The origins of 7ebra start with Inez whiling away the hours playing guitar in her bedroom. “I learned by playing covers by myself in my room”, she says. “Ella didn’t do that as much, but we sometimes played and sang together, country songs”. Eventually she would start writing her own. Ella wasn’t involved originally (“we did play together a few times”, she says, “and it just went to shit laughs. We fought a lot”), and Inez was originally reluctant: “I was a bit unsure whether I wanted to be in a band with my sister. Because you get clumped together all the time, when you’re twins”. But Ella was keen to join, and eventually persuaded Inez to let her join for a show. It went – so well that producer Tore Johansson (The Cardigans, Franz Ferdinand), saw it and asked if they’d like to record with him. That changed things, says Ella: “It made us think there might be something in this music”. As a duo, 7ebra were in flight. “In the end, it’s kind of a nice thing too being sisters in a band”, Inez says. “It doesn’t bother me anymore. It just made sense to play together”.

On the album that they eventually came up with, the talent that caught Johansson’s eye is immediately obvious. Opener “Secretly Bad” has a way of walking along your nerves, an eerie echo of a hymn in Inez’s vocal backed by a swirl of woozy blend of guitars and organ. That’s followed up by “I Like To Pretend”, an easily charming song that has a sleepy brightness about it, like morning sunlight breaking through a window. They take a couple of different genres for a whirl on Bird Hour – they’re tense and snappy on “If I Ask Her”, breezy and cocky on “Lighter Better”, and there’s even a couple of droplets of blues and folk in the mix, in the raw intensity of the emotions in the slower songs, the vulnerability and aching of songs like “Lean” and “Stripey Horsey”. The record has a way of sweeping you along in its mood and tones, fuelled in part by the band’s use of repetition, sometimes fast and fevered, sometimes crawling and hypnotic. The duo’s musical input blends perfectly, with Inez’s guitar and vocals forming the core, and Ella drawing in the detail with keys, organ, and harmonies, to really bring out the vivid nature of the songs. Indie rock that’s melodic and sweet, but with enough shadow mixed in to make it really compelling.

On Bird Hour, what strikes you first about 7ebra’s sound is how fully formed it is, how much they’ve carved out their own sonic territory, perfected by trial and error in the studio with Johansson. “Tore wanted us to try everything possible”, says Ella. “We had moments where things weren’t working. But that was necessary in order to find the good stuff”. 7ebra’s signature might be found in the deft way they deal with emotion – unafraid of being open, but a little too clever to make things too clear cut: “You can’t take yourself that seriously. It’s too emotional to take it seriously, to start hating yourself. But at the same time, it is quite serious”, says Ella. Another trademark is the simplicity – a 7ebra song has just enough to make it work, and nothing more. “I think it was important for me that our voices were at the centre of the songs”, says Inez, “that all the little melodies have their place, and don’t get overwhelmed. With lyrics, I sometimes come up with something, and just feel ‘there’s no need to add more to this’. Sometimes a line works by itself. You don’t have to add a bunch of lyrics”. Finally, the album’s themes are ones that will resonate with most people that have set foot on this planet. “I guess it’s about trying to understand yourself, in relation to others. Just life. ‘Why am I not good at this, why is this thing happening to me, why is this thing so hard, why am I so stupid?’”, laughs Ella.

7ebra haven’t been around for very long – but a handful of songs and their fizzing live shows have stirred up the biggest buzz in Scandinavian music in quite a while. Their debut album justifies it all. It showcases the magic they’re capable of conjuring up, and hints at even more to come in the future. But from where they are right now, they’ve made something very special. Bird Hour takes all that promise and turns it into something concrete, in the form of one of the year’s best rock debuts.

Producer & musician Handshaking continues the legacy of Finnish electronic music with the upcoming album ‘There was a chance’, due for release on May 19th of 2023.

Handshaking is a familiar name in the Helsinki underground scene and has become known for surprise-filled and versatile DJ gigs and energetic live performances.

Handshaking’s 2020 debut LP Garden Clogs was a long-awaited work for the electronic and dance music audience. The limited 200 vinyl edition sold out during the release weekend. Image Magazine said the “Handshaking’s debut album is of the highest quality in terms of production value, which competes with peers like Yaeji, Peggy Gou and Jaakko Eino Kalevi”.

Handshaking releases via PME Records, which is the biggest independent label in Finland, representing artists like ALMA, Babel and AHO. Founded in 2012, the label has almost 30 artists in its roster with a wide variety of genres.

Our 5th anniversary is around the corner and we chose some tracks that were released in the past years on tape and finally we gave them a spin on a 7 inches edition. This is the case of Magnum Opus and Revetop track, Fear in our Veins, Colombian artist collaboration released in 2021 and now it comes with an authentic destroyer remix by Autumns.

Jeffrey Silverstein returns in 2023 with his second full-length release:
Western Sky Music - Based in Portland, Silverstein channels the natural beauty of his adopted Pacific Northwest into guitar-driven explorations of inner landscapes silverstein is joined by Barry Walker Jr. on steel (North Americans + Rose City and), Dana Buoy (Akron/Family) on drums, as well as guest appearances from William Tyler and Karima Walker. Robert Earl Thomas from Widowspeak shared quick note on the album: 'I've really been enjoying Western Sky Music, especially No Rain' and '(Theme From) Western Sky Music.' The back to back pairing of arthy slow core and blissed out tremolo meditations takes me to such a warm lace. It's a great Sunday record' Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and silver Jews at their twangiest" - NPR Music
ummer west coast tour. March UK tour.

Appeared on Best-of lists: Aquarium Drunkard, New Commute, Raven Sings the lues, and more.

Jeffrey Silverstein returns in 2023 with his second full-length release:
Western Sky Music - Based in Portland, Silverstein channels the natural beauty of his adopted Pacific Northwest into guitar-driven explorations of inner landscapes silverstein is joined by Barry Walker Jr. on steel (North Americans + Rose City and), Dana Buoy (Akron/Family) on drums, as well as guest appearances from William Tyler and Karima Walker. Robert Earl Thomas from Widowspeak shared quick note on the album: 'I've really been enjoying Western Sky Music, especially No Rain' and '(Theme From) Western Sky Music.' The back to back pairing of arthy slow core and blissed out tremolo meditations takes me to such a warm lace. It's a great Sunday record' Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and silver Jews at their twangiest" - NPR Music
ummer west coast tour. March UK tour.

Appeared on Best-of lists: Aquarium Drunkard, New Commute, Raven Sings the lues, and more.

Jack Vegas is the sixth album by Swedish electro/post punk outfit Agent Side Grinder. It marks the band’s first exploration of American culture, drawing heavily on the beatnik-era works of Jack Kerouac and William S. Burroughs, as well as the proto-punk and avantgarde movements — while maintaining a contemporary storytelling perspective.

The American dream becomes a symbol for escape from a Europe ravaged by pandemics, war and financial instability. Lyrical themes revolve around boredom, resilience, government and corporate intrusion, and mental health — with the occasional glimmer of light. It’s a drum machine-driven road movie, plotting its course through the desperate heart of rural Sweden.

The name Jack Vegas’ is derived from a Swedish chain of low-stakes slot machines.

The album has been produced by former ASG member Henrik Sunbring, and recorded in Stockholm during 2022.

Genre-wise Agent Side Grinder has always existed in some kind of twilight zone. Deeply rooted in early electronic and industrial music as well as proto- and post punk, their sound is driven by iterative, suggestive beats and sudden bursts of untamed ferocity, built on equal parts dissonant samples and elegant melodies.

Eponymous collaboration between Jim Ghedi & Toby Hay - their first
since 2018's 'The Hawksworth Grove Sessions' and their debut for Topic
Records
Postponed for two years due to the small matter of a global pandemic, finally, as
some semblance of normality took shape, in February 2022, the duo headed into
Giant Wafer Studios, mid-Wales, with very little rehearsal time and recorded the
entire album live, with no edits or overdubs over three days.
Jim Ghedi and Toby Hay are both prolific, praised and established artists in their
own right. Hailing from South Yorkshire, Ghedi's previous work has often been
instrumental, exploring the natural world and his relationship to it, as seen on
2018's A Hymn For Ancient Land but also developing into using his voice,
songwriting and traditional material on his more recent album, In The Furrows Of
Common Place. Toby Hay, hailing from the Cambrian mountains, professes
likewise, that the landscape serves as eternal muse and the spiritual groundwork
of his entrancing guitar playing which has dazzled critics and listeners alike
throughout his career. All of this makes their collaboration with the world's oldest
independent label and custodians of UK folk music, Topic Records, a natural
home for this exceptional record.
The album arrtwork includes beautiful liner notes by Andrew Male, senior
associate editor of Mojo magazine; film, radio and TV writer for Sight and Sound
and Sunday Times Culture.

Taj Mahal can rightfully be called a living legend for his contributions to
popular music
With a voice as instantly recognisable as Louis Armstrong, Ray Charles, or Dr.
John, Taj Mahal has throughout his career pushed the envelope of American
music forward by incorporating sounds from the Caribbean, Africa, traditional
blues and jazz. He has won 3 Grammys from 15 nominations, was inducted into
the Blues Foundation Hall of Fame, and presented with a Lifetime Achievement
Award from the Americana Music Association.
With 'Savoy', Taj takes a new direction in his musical journey, exploring classics
from the American songbook with his good friend and acclaimed record producer
John Simon, whose resume includes producing classic albums by The Band,
Leonard Cohen, Gordon Lightfoot and Blood Sweat & Tears. 'Savoy' is the
realisation of a musical collaboration they had been planning for decades, finally
locking in the studio time to make it happen in August 2022.
Recorded with the hottest musicians in San Francisco, 'Savoy' is a loving
throwback to the sounds of the swing jazz big band era, titled as a tribute to
Harlem's Savoy Ballroom where the music composed by the likes of Duke
Ellington, Louis Jordan, George Gershwin and Louis Armstrong was performed by
a who's who of iconic artists, and now brought back to life by the one and only Taj
Mahal.

Iyer's 2020 full-length KIND was the result of years of touring, connecting
with community, and an ethos based in self-love
But rest is approached from a different angle - Rest is in many ways a reflection
of myself, asking the question, "Who am I when it all stops?", explains Iyer,
referencing, of course, the early pandemic and its halting effect on the world.
Being stuck at home indefinitely allowed Iyer to examine her relationship to rest
on a more critical level. With this newfound downtime, Iyer began to realize an
active pursuit of rest, with deliberate and kind intention, eventually turning to back
songwriting as part of her new practice. The resultant five songs that comprise
rest explore Iyer's mindful intentions through a graceful amalgam of tender pop
with inflections of jazz, backed with orchestral experimentation.

On their sixth studio album "Wanderer", THE INTERSPHERE show with
enormous variety how far the search for innovative sounds can take a
band in the classic rock line-up
The figurehead for modern rock music pursues the approach to electronic
elements with bravura. THE INTERSPHERE 2023 stand for maximum musical
curiosity and a spirit of discovery that could not better depict the ambivalence of
our time. In the lyrics on "Wanderer", singer Christoph Hessler alternates between
personal introspection and a socio- politically alert power of observation - the
work of THE INTERSPHERE is also inconceivable without this perspective. THE
INTERSPHERE don't shy away from the big hook line or dramatic harmony arcs in
their border crossings to post rock, metal and pop. Thus, the quartet remains
internationally on par with acts like Biffy Clyro, Royal Blood and Thrice in every
respect.

Recorded entirely in 2021, "Perfect Worlds," the newest album by San
Francisco's mysterious lo-fi pop legend Tony Jay, delivers an intimate
record of thirteen dreamy, assured arrangements.Fresh off the heels of
"Hey There Flower," "Perfect Worlds" marks Tony Jay's first album with
Slumberland Records and further cements Tony Jay's status as dejected
crooner of the quotidian par excellence
Drawing inspiration from failed relationships, lack of sleep, a bicycle injury, and
depression, Tony Jay pairs catchy melodies and hushed vocals with ethereal
instrumental tracks. Headed by Michael Ramos, the former drummer of April
Magazine, and current member of Flowertown, Al Harper, and Sad Eyed Beatniks,
Tony Jay began recording in 2006 and added a live band in 2017. "Perfect
Worlds," recorded in Ramos's bedroom and mastered by Mikey Young, features
Kelsey Faber, Alexis Harper, and Cameron Baker, with guest vocals by Karina Gill
(Cindy, Flowertown, Sad Eyed Beatniks).
Studded with instant classics, Tony Jay's new album encapsulates the isolation
and loneliness of the past few years. "In a perfect world I'd find a place down in
the basement," begins the title track, and the refrain repeats, "You just can't
escape it." Interspersed with otherworldly instrumental tracks that call to mind a
machine struggling to work underwater and whale mating calls combined with
droning synth, horns, chimes, this album also provides space for listeners to
make new worlds of their own. Our times may be inescapable, but we're fortunate
to be able to wall ourselves in with fantasies of our own creation alongside
"Perfect Worlds.

Under the production moniker of Material Things, 12th Isle co-founder Stewart Brown unveils a part debut album part compendium of musical collaborations spanning from 2015-2020. Some recordings began as long, one-take improvisations (How's Life, Peckham) spliced together and revisited years later. Others were based upon chance opportunities to record with musicians operating a long way from the parameters of 12th Isle.

Cult private-press loner folk guitarist Bob Theil, whose 1982 album So Far counts as one of the Scottish greats of the era, is at the heart of 'Westway'. Synth and guitar fragments recorded by the pair in Stewart's family home one summer form a low-key conclusion to the collection, whilst London based percussionist Pike Ogilvy brings an array of drum sounds and natural percussion to 'No Direction'. Regular 12th Isle affiliate Vague Imaginaires also features heavily, contributing synth work on Grenoble and his own extended digi bonus remix of 'How's Life'.

As a collection, the 8 tracks show a studious, concise vision and combine influences from minimalism, concrete and avant-garde jazz and techno yet also embrace friendship, experimentation and curiosity whilst capturing 5 years of the artists own personal life. Some of the tracks have been circulating in various versions for a number of years now, with DJ support from Bake, Ivan Smagghe, Optimo, Lena Willikens, Huntley & Palmers, Orpheu The Wizard and, of course, 12th Isle.

Repress!

There are techno classics, and there are techno classics! It’s without doubt that Joey Beltram has played a pivotal role in the growth of the techno sound that gestated in Detroit and was lapped up in Europe during those early years. Beltram spearheaded a darker sound that became a staple in the UK and European rave scene in the early 90s, and a sound that continues to come back around for revival and a new twist on the genre from the producers and DJs of the day.

‘Beltram Volume 2’ was first released on R&S Records in 1991, and despite the huge success of the ‘Energy Flash’ single, released a year prior, ‘Volume 2’, some say, is ‘Beltram’s definitive release on R&S’. Deep, dark and deliciously hypnotic, all four cuts on this EP still sound as raw and devastating 30 years later. Big tunes at seminal clubs like Rage (Fabio & Grooverider) and the network of UK raves soundtracked by the likes of Carl Cox, Colin Faver, Eddie Richards et al, Beltram’s unique sound help spawn the bass heavy drum & bass genre that was also burgeoning at the time.

‘Beltram Volume 2’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1991 packaging featuring Christel Brodahl’s now legendary oil painting.

‘Beltram Volume 2’ by Joey Beltram is available on R&S Records from 9th December 2022.

Potatohead People's classic tune "What It Feels Like'' featuring T3 (Slum Village), Kapok and Illa J gets a remix treatment from in demand bass player and rising star Carrtoons. Switching up the order of the verses, dubbing out the horns and adding in his signature basswork, Carrtoons gets the song into a whole other groove of its own while retaining the original vibe in a unique way. Look out for a 7" coming in Spring of 2022 with the remix and the OG on it!

LOCUS returns with its latest VA ‘LOCUS Trax Vol. 3’, welcoming label debuts from Jamahr, Mehlor, Project89, Manuel De Lorenzi and Giacomo Silvestri.

Now established as a standalone label in its own right, FUSE’s sister imprint LOCUS continues to prove itself as a go-to stop for forward-thinking and fresh house music with minimal-leaning influences from both established and emerging talent. Returning with the third instalment of its VA series ‘LOCUS Trax’, April brings five new names to the label as Captea boss Jamahr, Leeds-based DJ/producer Mehlor, and Dutch talent Project89 serve up fresh singles alongside a slick collaboration from Italian pairing Manuel De Lorenzi and Giacomo Silvestri.

Jamahr opens the package with an impactful combination of slick drums, resonant vocals and warped basslines across ‘Night Tales’, while Mehlor’s ‘BSOD’ offers up off-kilter electronics, skippy percussion and woozy low-ends. On the flip, Project89’s ‘What’s Going On’ delivers a peppy groove accented by atmospheric pads and spaced-out aesthetics, before closing via the tight, rolling grooves of Manuel De Lorenzi and Giacomo Silvestri’s ‘Sit Down’ as the two unveil a heads-down, hands-up terrance anthem.

LOCUS Trax Volume 3 drops on 26th May 2023 via digital and physical formats.

Sasu Ripatti presents the third volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

--
”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

--

Vladislav Delay presents the third EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

--

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Back in 2013 we took ourselves on a discographic adventure without really knowing what we were doing! Who would have thought that 10 years later, we'd be releasing our 50th 45 RPM record?

As luck would have it, we are happy to announce our new release, in collab with one of the flagship bands from today's funk scene, Germany's own "Mighty Mocambos", who have been delivering their instrumental groove and Caribbean vibes via their alter ego, "Bacao Rhythm & Steel Band" across Europe for more than fifteen years.

So, what better way to immortalize the raw and intense live sound that they're famous for than releasing a record on our favourite format?

Two sides recorded live on tape during the "Queen 16 B-Girl battle" in Berlin in 2022. Somewhat reminiscent of Can's "Vitamin C", the A side "International Cypher" has an oriental funk feel thanks to the use of the sharp sound of an electric Phin (Thai guitar), while thestraight up percussive funk instrumental "Queen 16 theme" pays tribute to the B-Girls onlyfestival, of which the soundtrackwas designed for the occasion.

2022 marked the 10th anniversary of Lonerism. To celebrate, Tame Impala present fans with a deluxe 3LP reissue of the album that features previously unreleased demos from the era.
Recorded in both Western Australia and Paris between 2010 and 2012, Lonerism was Tame Impala’s breakout record. It received critical acclaim from the likes of Pitchfork and NME and is regarded as one of the best albums of 2012.

Black vinyl pressing 2022! "Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between 'Know Your Product' and 'No, You're Product'. Hey, you're probably pretty good-looking too. You know your shit, either way. So no wonder you're drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year's mighty 'State of Mind' LP such an instant classic. OK, we've established you know the drill, but let's recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It's a full-on riot in 30 minutes - the rawest of rock'n'roll bleeding into the grimiest of power chords with hooks for days. You already know you're gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight 'Strung Out' - or sludgin' their way through groovier cuts like 'Bustin' Out', they're never less than a treat that's guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain't Stiff, it ain't worth a fuck. Frightfully rude, but that's rock music for you, I suppose. Get it in your ears." - Will Fitzpatrick.

Anlässlich des 35-jährigen Jubiläums kündigen Mute/BMG eine Sonderedition von A WAY OF LIFE an, dem dritten Studioalbum des einflussreichen Elektronik-Punk-Duos SUICIDE. Obwohl die Band
während ihrer Karriere kaum Anerkennung erhielt, gelten Suicide als eine der inspirierendsten Bands der 1970er Jahre.
Sie beeinflussten Bands wie Soft Cell, Depeche Mode und The Jesus And Mary Chain, während sie Fans in Nick Cave, Jim Thirlwell, M.I.A., Spiritualized, Lydia Lunch, Bobby Gillespie und Savages fanden, um nur einige zu nennen.
Ursprünglich 1988 veröffentlicht, mehr als ein Jahrzehnt nach ihrem kultigen, selbstbetitelten Album, taten sich Alan Vega & Martin Rev erneut mit dem Frontmann von The Cars, Ric Ocasek, zusammen,
um "neun schaurig-schöne Industrial-Popsongs" (Pitchfork) zu produzieren.
Diese Jubiläumsausgabe ist als Limited Edition Transparent Blue Vinyl und CD erhältlich und wurde von Denis Blackham (Skye Mastering) komplett neu gemastert.
Auf jedem Format sind die Bonustracks 'Heat Beat' und eine neu entdeckte Live-Coverversion von Bruce Springsteens 'Born in the USA' enthalten. Drei weitere, bisher unveröffentlichte Aufnahmen sind exklusiv auf der CD-Version zu hören.

Back with his second full-length release of 2022 and follow-up to the wildly successful album, “FACE,” Babyface Ray gifts fans with “MOB,” an 18-track album featuring tightly selected appearances by Lil Durk, Blxst, Ninja, Doe Boy, Samuel Shabazz,King Hendrick$ & GMO Stax. 2022 was a banner year for Ray, with him being named to XXLs Freshmen class of 2022, as well as being elected to be part of the 2022 class for YouTube Music’s Black Voices Fund. He also embarked on his first sold out nationwide headlining tour, and appeared at several notable festivals, including Rolling Loud, Lyrical Lemonade's Summer Smash, Made In America, Wireless Fest, Broccoli City and others. After making a late night appearance on Jimmy Fallon, Ray announced his second headline tour slated for 2023, entitled “Courtesy of the MOB.” If one thing is clear, it’s that Babyface Ray is a force to stay for years to come.

Mit "Where The Light Goes" erscheint am 26. Mai 2023 das erste neue Album seit über einem Jahrzehnt.

Die mehrfach mit Platin ausgezeichneten US-Pop-Rocker Matchbox Twenty meldeten sich zuletzt mit ihrer neuen Single "Wild Dogs (Running In A Slow Dream)" zurück und veröffentlichen damit ihre erste neue Musik seit über einem Jahrzehnt.
Der Song erscheint zeitgleich mit der Ankündigung des kommenden fünften Studioalbums "Where The Light Goes" , das am 26. Mai 2023 über Atlantic Records erscheinen wird.

Produziert von Gregg Wattenberg mit Paul Doucette und Kyle Cook, bietet die kommende Platte authentische, relevante und glaubwürdige Songs voller Energie.

2023 klingt die Band auf ihrem kommenden Album "Where The Light Goes" erfrischt wie eh und je und profitiert dabei auch von den jeweiligen Solo-Reisen der Musiker. Rob Thomas hat sich als einer der
angesehensten Künstler der letzten Jahre erwiesen. Er veröffentlichte fünf Soloalben und erhielt drei GRAMMY Awards, 11 BMI Awards, den allerersten Songwriters Hall of Fame Hal David Starlight Award, zwei Billboard "Songwriter of the Year"-Auszeichnungen und eine Top-5-Platzierung in den Billboard Top 20 Hot 100 Songwriters (2000-2011).

You never have to guess what Tink’s thinking. The Chicago-born songstress and rapper says it all in her music. She spits, speaks, and sings straight from the heart without filter or apology. At the same time, she breaks boundaries, dropping off bars with uncontainable charisma and belting out hooks with show-stopping range. She can be romantic in one crescendo before getting raw in a bout of wild wordplay. This versatility consistently affirms her as a force in her own lane. Following her 2011 debut mixtape Winter’s Diary, she dropped projects at a prolific pace, including Alter Ego, Blunts & Ballads, and Boss Up. 2014 saw Winter’s Diary 2: Forever Yours arrive to widespread critical acclaim, landing on year-end R&B album lists from Billboard and Rolling Stone. It also yielded “Treat Me Like Somebody,” which gathered 64 million Spotify streams and counting. A year later, XXL touted her among its coveted “Freshman Class.” Following a stint in the major label system, she embraced independence again with Winter’s Diary 4 2016, Voicemails [2019], Hopeless Romantic [2020], and A Gift And A Curse [2020]. She collaborated with everyone from Sleigh Bells and Pentatonix to Future, G Herbo, 6lack, and K Camp. During 2021, she served up Heat of the Moment powered by “Rebel” [feat. Jeremih] and “Might Let You” [feat. Davido]. After raking in streams in the hundreds of millions and earning acclaim from Pitchfork, The FADER, HYPEBEAST, and more, she opens up like never before on her 2022 album, Pillow Talk.