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Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into AC/DC. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”
For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe.
“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”
According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.
Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”
With percolating synthesizer arpeggios, and climbing bass grooves, “IDKS” is the album’s dance-floor slapper. “’IDKS’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”
Lyrically, “IDKS” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”
With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

Big Crown Records is proud to present Dave Guy’s debut album Ruby. Having lent his talents both on stage and in the studio to artists like Amy Winehouse, Lizzo, Pharrell, and Sharon Jones to currently playing every night on The Tonight Show as a member of The Roots, Dave steps out on his own with a jazz record that is both unique and modern. Ruby mixes his musical in­fluences with the energies of the city that raised him, capturing different moods and inviting the listener into the world as Dave Guy sees and feels it. Recorded in Queens at The Legendary Diamond Mine, the album is produced by Homer Steinweiss and Nick Movshon and features musical contributions from Leon Michels, Marco Benevento, Claire Cottrill, and more.

Ruby instantly sits with the classics as an album that is fully realized and not simply a collection of songs. Lead single “7th Heaven” opens the album with an anthemic energy as Dave’s horn lines soar over thundering drums, ethereal vocals, and dancing piano. Keeping the energy high, “Footwork” is a Latin inspired number that is sure to soundtrack many a dance fl­oor from SoHo to Harlem. The synth intro of “Pinky Ring” cleanses your palate for the mood shift when the track drops. Deep bass tones underline the impeccable drumming and

Dave effortlessly finds the pocket wasting no notes as the verses and choruses trade off. The record leans into spiritual jazz vibes on “Diamond Encore” with a dark and deep almost “Axelrodish” rhythm track then picks the energy back up with the stomper “Still Standing”. “Dave Wants You” has a bop all its own with an unorthodox drum pattern that Dave anchors with his trumpet hits. The otherworldly arrangement of “Drony Boy” puts the production on a pedestal. The first intro almost serves as an intermission on the album while the second

intro sets up the neck snapping track that is about to drop. A menacing guitar signals the builds and the whole thing is juxtaposed by Dave’s beautiful trumpet riffs. “Quesodillas” & “Green Door” begin the autumn of the album with their mellow & intimate energy and “Ruby’s Rubies”, the album’s closer is the perfect ending to the journey.

Black, Gold & Green was the first of three albums Ken Boothe would record together with producer Lloyd Charmers and takes his Memphis-via-Kingston aesthetic to the next level. Some of the best soul singing of his career can be heard here on numbers such as ""Out of Love,"" ""Missing You,"" and the gritty ballad ""Second Chance."" His singing as being in the same kind of soul groove as the late and great Otis Redding. Ken’s tradition, though, is based in the powerful religious messages reflected in the native Jamaican religion. Black, Gold & Green includes some serious social-political material, and these heavy tones permeate every note of this album. It also includes his great cover version of Bill Withers' ""Ain't No Sunshine."" Black, Gold & Green is available as a limited edition of 500 individually numbered copies on orange coloured vinyl.

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

'In `All This and So Much More' Tasha is an artist flung open. For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical `Illinoise' which adapts Sufjan Steven's `Illinois' for the stage. If `Tell Me What You Miss The Most' was an introspective meditation on love with a few moments of glancing toward what's next, `All this and So Much More' is Tasha turned outward, flourishing, telling us what it's like to take life by the chin and look it in the eye. Take, for example "Eric Song." This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3/4 guitar strum, lulling us into a comforting waltz, Tasha's voice is breathy with grief, adding depth and dimension to the hushed sound. "No, I'm not alone after all / You must be near / Facing this soaring sprawl," she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self. Said a different way, `All This and So Much More' is a full-throated ode to all of the ups and downs of becoming. In the opening track, "Pretend," when Tasha sings about "feelings outgrowing this little life," we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)_cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha's life. Written over the course of 2022 and 2023, right on the cusp of Tasha being cast in Illinoise, the songs in this album invoke friendship, heart ache, flirtation, doubt. From the social anxiety of "Party" ("Do they think I'm funny? / Did they like my jokes last night?") to the questing for meaning in "So Much More," Tasha brings us along on a journey of finding out that the person you wanted to be was inside of yourself, just waiting to bloom all along. She sums it up neatly in her final track, "Love's Changing," charging us with a brilliant, sweeping vision of the future, singing: "Suddenly the world is bigger than it ever felt before / Feel the weight of my future sinking in / See the joy I'm running toward." In `All This and So Much More,' Tasha asks us to consider abundance in its truest form. Our lives, a deluge of possible experience if only we will surrender to it, all the way from the citric ache of heartbreak to the chest bloom of new adventure.

'In `All This and So Much More' Tasha is an artist flung open. For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical `Illinoise' which adapts Sufjan Steven's `Illinois' for the stage. If `Tell Me What You Miss The Most' was an introspective meditation on love with a few moments of glancing toward what's next, `All this and So Much More' is Tasha turned outward, flourishing, telling us what it's like to take life by the chin and look it in the eye. Take, for example "Eric Song." This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3/4 guitar strum, lulling us into a comforting waltz, Tasha's voice is breathy with grief, adding depth and dimension to the hushed sound. "No, I'm not alone after all / You must be near / Facing this soaring sprawl," she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self. Said a different way, `All This and So Much More' is a full-throated ode to all of the ups and downs of becoming. In the opening track, "Pretend," when Tasha sings about "feelings outgrowing this little life," we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)_cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha's life. Written over the course of 2022 and 2023, right on the cusp of Tasha being cast in Illinoise, the songs in this album invoke friendship, heart ache, flirtation, doubt. From the social anxiety of "Party" ("Do they think I'm funny? / Did they like my jokes last night?") to the questing for meaning in "So Much More," Tasha brings us along on a journey of finding out that the person you wanted to be was inside of yourself, just waiting to bloom all along. She sums it up neatly in her final track, "Love's Changing," charging us with a brilliant, sweeping vision of the future, singing: "Suddenly the world is bigger than it ever felt before / Feel the weight of my future sinking in / See the joy I'm running toward." In `All This and So Much More,' Tasha asks us to consider abundance in its truest form. Our lives, a deluge of possible experience if only we will surrender to it, all the way from the citric ache of heartbreak to the chest bloom of new adventure.

Nina Ryser's music has always inhabited its own world; a singular and cohesive collection of Keyboard-centric home recordings that marry her undeniable pop sensibilities with a truly bizarre dreamlike aesthetic. With a solo career spanning 7 releases as well as her work in the highly influential art-punk trio Palberta, Nina's artistic voice has been a staple in the American underground for over a decade, her distinctive and consistent sound earning a cult following. Her latest effort Water Giants signifies a departure in both sound and artistic practice - her first solo release recorded outside of her home studio, with a myriad of first time collaborators, it's Nina's most lavish and expansive offering to date, honing in on the heartfelt songwriting at the core of her work. After completing her usual process of demoing the songs for Water Giants, Nina felt that she wanted to try something new, escaping the confines of her minimal studio setup and the limitations of working alone. At the recommendation of several friends, she began working with Lucas Knapp, a Philly based producer who has contributed work to many Dear Life releases (including Florry's The Holey Bible, Hour's Ease the Work, and Joey Nebulous's Joey Spumoni Creamy Dreamy Party All the Time ). Lucas and Nina's recording sensibilities aligned quite seamlessly, breathing new energy into the songs in what she describes as an "effortless collaboration". The result is some of her most pristine experimental pop offerings to date, centering Nina as a dynamic performer and lyricist without foregoing the surreal qualities of her previous work. The album features contributions from many of her peers in the Philly music community, including Jill Ryan (Great Time), Victoria Rose and Nino Soberon (@, Brittle Brian), Eli Kleinsmith (The Knee Jerk Reaction), and her husband Gabe Adels, whom she frequently collaborates with in the synth-pop duo Data. Even the cover art is a departure for Nina, who has previously crafted it herself or with longtime friend/visual artist Izzy Kross, this time assembling a collage of photographs taken by Eve Alpert (Palm) fit for the album's newfound dimensionality. Lyrically, Water Giants stands as Nina's most personal work to date. Taking a cue from her previous release, I Miss My Dog, which was written as Nina was processing the imminent loss of her and Gabe's dog Billy, Nina approached the writing process with unbridled honesty and chose not to edit or overthink her words as she had in the past. The result is a number of candid, heartfelt reflections on love, illness, addiction, anxiety, and the beautiful absurdity of a trash pile on the street. Interspersed throughout the album are Nina's signature woozy instrumentals, which add some escapism to the grounded nature of the material. By putting faith in a newfound collaboration without straying from her natural instincts, Nina has crafted the most dynamic album in her discography, an exciting testament to her songwriting prowess and what can be accomplished by stepping out of your comfort zone as an artist.

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

Eclipse kehren zurück mit ihrem neunten Album "Megalomanium". Nach ihrem bisher erfolgreichsten Album "Paradigm" (das die massive Single "Viva La Victoria" enthält, die allein bisher über 26 Millionen Streams auf Spotify hat)) veröffentlichten die schwedischen Hard Rocker ihr letztes Album "Wired" Ende 2020 (Platz 23 der deutschen Charts). Trotz der fehlenden Tourneen gelang es ihnen, weiter zu wachsen. Das neue Album bietet den fröhlichen, hooklastigen und gitarrenorientierten Sound von Eclipse in seiner reinsten Form, 80er beeinflusster Melodic Hard Rock. Die Band ruht sich jedoch nicht auf Lorbeeren aus und bietet einige neue Elemente für einen Sound, der vor allem in Europa bereits Massen von Fans gewonnen hat. Während die erste Single "The Hardest Part is Losing You" einfach zeigt, dass die Inspiration intakt ist - eine der besten Hymnen von Eclipse überhaupt! - Songs wie "Got It!" oder das von Victor Crusner gesungene "High Road" zeigen, dass die Band sich nicht scheut, neue Wege zu gehen. Trotzdem können sie im hymnischen "Children of the Night" mit einem Riff, das die Erinnerungen an den besten Dio/Sabbath-Sound weckt, sehr hart rocken. Weitere Highlights sind das sofort erkennbare "Hearts Collide" und das treffend betitelte "Anthem", das die Fans, die die Shows der Band genießen, in Brand setzen wird. Megalomanium hat absolut alles, was man von den Jungs aus Stockholm erwarten würde, und noch mehr. Erik Martensson (auch W.E.T.) zeigt einmal mehr, warum er einer der gefragtesten Autoren und Produzenten der Szene ist. Sein Geschmack für Melodien, Songwriting und Harmonien ist absolut herausragend und wenn er sich mit Magnus Henrikssons Gitarren duelliert, ist absolute Magie da. Große Europa Tournee von Juni bis November.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Kendra Morris' stellar and soulful debut album 'Banshee' is finally back on vinyl for the first time since 2012. Originally released via Wax Poetics, Colemine Records is now proud to make this album widely available again on record shop shelves, right where it should be. Pulling influences from late-60s and early-70s psychedelic R&B and funk, Kendra adds her own rock twist in collaboration with producer/guitarist Jeremy Page. The album is a rich sonic tapestry, with hip-hop references and beats weaving throughout. All of this sets the perfect backdrop for Kendra's known powerhouse vocals. 'Banshee' effortlessly blurs the lines between sounding old and new, and has left a lasting impression over the last decade. Kendra, in her own words, "howls like a banshee... and roars like a wolf."

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

After their internationally successful releases 'Mosaic' and 'Babel', Dutch band Lesoir launches their new full-length album 'Push Back the Horizon'. With this album, the band shows its most melodic side. 'Push Back The Horizon' is characterised by traditional song structures, catchy hooks and a groovy rhythm section, with the pinch of prog this five-piece is known for. The 10 songs are inspired by the collective challenges humanity faces and the glimmers of hope from which we draw positive energy to push boundaries. 'Push Back The Horizon' was produced by John Cornfield, known for his work with Muse, Kashmir, Razorlight, Supergrass, New Model Army and Ben Howard.

Das 2020er Album von Tiger Lilly Marleen und ihren Bonsai Kitten! ,Love and let die" vereint den Spirit von Woodstock und Wacken mit all der subkulturellen Attitüde, die man an dieser großartigen Band so liebt!!! Ein energiegeladener Punk, Riot Rock, Metal,Blues & Billy Meltdown über Liebe, Tod & Hoffnung 11 starke Songs inkl. Singles ,Now or never" und ,Limit to your love"! BONSAI KITTEN feiern mit ihrem neuen Album "LOVE AND LET DIE" eine musikalische Wiederauferstehung und zeigt völlig neue Facetten der Band. Wenn Tiger Lilly Marleens charismatische Stimme auf Marc Reigns (Morgoth / Destruction) hemmungsloses Metal-Schlagzeug und Wallys (Psychopunch) raue Blues-Rockgitarre trifft, abgerundet durch Spoxx'(Feeling B) Bass Sound. Die Songs glänzen durch Spontanität und Härte, aber auch durch Intimität und eine extrem spannende Vielseitigkeit, während sie die Liebe, den Tod und die Hoffnung behandeln. Dieses Album ist pure Leidenschaft, zieht in seinen Bann und sprengt musikalische Grenzen. Ein "Limit (to your love)" - das vorab ausgekoppeltes Video - gibt es für BONSAI KITTEN dabei nicht ohne das Wesentliche aus den Augen zu verlieren: Jeder Song ist ein packender Treffer.mal ins Herz, mal in die Seele, mal "direct in your face"! Purpurfarbenes Vinyl!

Santanas mit neun Grammys und mehreren Platin-Auszeichnungen gekröntes Album "Supernatural" wurde zum 25-jährigen Jubiläum auf transparentem blauen Vinyl neu aufgelegt. "Supernatural" eroberte in 11 Ländern den ersten Platz und zieht mit Hits wie "Smooth (ft. Rob Thomas)" und "Maria Maria (ft. The Product G&B)" weiterhin neue Fans an.
Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a label in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, "Smooth" featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

A/B Side Effect, Black & Gold, limited to 200 copies. More than 4 years after "Sculpture Of Violence," GIVER from Cologne, Germany, announce their third album "The Future Holds Nothing But Confrontation" for September 20, 2024, on End Hits Records. In recent years, GIVER have not only refined their hardcore sound to be more brutal and atmospheric with elements of metal and post-punk, but thematically, it's clear that their new album serves as an even more drastic political manifesto. Capitalism, culture wars, the climate crisis, and their societal implications and consequences are central themes on "The Future Holds Nothing But Confrontation." GIVER critique the prevailing neoliberalism and its ongoing agitation for the uncompromising pursuit of happiness and satisfaction. The band explains: "What neoliberalism has established is a lonely place. Its driving force is the individualized pursuit of constant fulfillment, altering the way we interact with each other. Whatever we do to achieve satisfaction, there's always a lingering sense of something missing. Happiness and contentment are never the goal; they've been replaced by profit margins and excess. These are endless and extremely unevenly distributed. Anger arises in this vacuum. With this album, we want to remind that it's the economic conditions and inequalities that should be the target of our collective frustration. They create depression, despair, and a downward spiral. Being anti-fascists is not enough; we must also be anti-capitalists." This anger is also reflected musically in the furious 11 new tracks. Filled with powerful guitar riffs and sometimes bilingual lyrics, some of the songs also introduce a new, deep style of spoken word for GIVER, making the eventual eruptions that much more impactful. With the release of their third album, GIVER venture into fresh and melodic territory, integrating elements of post-punk, black metal, and hardcore into a sound that sits somewhere between bands like Oathbreaker, Converge, or Chelsea Wolfe. Although "The Future Holds Nothing But Confrontation" builds on a foundation of biting, powerful metal, it also incorporates dark vocal lines that could be found on a Fontaines D.C. or IDLES record. "The Future Holds Nothing But Confrontation" was produced by Lewis Johns (Rolo Tomassi, Employed To Serve, Funeral For A Friend).