Поиск:win win

Enjoy The Ride Records in conjunction with Paramount Pictures proudly presents the score to Days Of Thunder (Music From The Motion Picture) by Hans Zimmer (35th Anniversary Edition). After decades of being locked in the vault, the iconic full score was finally released to the public for the 30th Anniversary on limited edition CD by La-La Land Records, and we are excited to bring it to our favorite format yet again to celebrate the 35th Anniversary! This 2xLP 140g vinyl set has the full score, along with six bonus tracks with five alternate takes, plus the rarely heard Rock Arrangement of the Days of Thunder main title. Days Of Thunder (Music From The Motion Picture) is housed in a high gloss gatefold jacket featuring the iconic film poster, along with stills from the film.the film.

Zum 100. Geburtstag von Peter Thomas - der Kult-Soundtrack neu aufgelegt! Zum Jubiläum des 1925 geborenen Komponisten Peter Thomas erscheint einer seiner größten internationalen Erfolge erneut auf Vinyl: Bruce Lee: The Big Boss (Revised) - die alternative Filmmusik zum gleichnamigen Martial-Arts-Klassiker von 1971. Die ursprünglich 2020 veröffentlichte und längst vergriffene LP wird nun als 180g-Vinyl in schwarzer Pressung neu aufgelegt und ist ab sofort wieder im Handel erhältlich. Die Musik - ein mitreißender Mix aus Big-Band-Sound, Funk, Space-Age und psychedelischer Elektronik - wurde vom deutschen Verleih als westliche Alternative zur Originalmusik in Auftrag gegeben und entwickelte sich zur offiziellen internationalen Filmmusik des Films (außerhalb Chinas). Das aufklappbare Gatefold-Cover wurde vom renommierten Künstler Adrian Keindorf gestaltet und verbindet Retro-Ästhetik mit modernem Design. Diese Veröffentlichung ist der Auftakt einer Reihe, die dem Werk von Peter Thomas (1925-2020) gewidmet ist. Bereits erschienen sind:

Winnetou und sein Freund Old Firehand
Steiner - Das eiserne Kreuz 2
Edgar Wallace
Derrick & Der Alte
Ein Muss für Soundtrack-Sammler, Bruce-Lee-Fans und Liebhaber außergewöhnlicher Filmmusik.

Massi NPL’s EP debut on House on the Strand’s label 'Herah' is a wonderful cluster of ambient club adjacent works
Producer and sound artist Massi NPL has spent close to a decade honing his craft as a producer with an impressive growing list of accolades that have seen him try his hand at everything from scoring award winning video games and theatre productions at the Zurich theater to DJ at events and radio stations around the globe.
While the producer’s output may be slim it is considered and precise. His new Fragments EP is a deeply personal project that is the product of years of work.
These select 3 pieces are crafted from a series of field recordings spanning 3 cities that have shaped much of the producers life. These ambient club adjacent works are equally promising at decibel sound system shaking volumes as they are within tucked away headphone and home listening environments. They exude expansive soundscapes, featuring a rich array of washed out synth backdrops and percussions.
As featured on Alex Ruder’s Pacific Notions on KEXP
Mastered by artist engineer Adam Badí Donova (ulla, mu-tate, dj lostboi, Torus)

Compact, colourful and full of fine songs, this is truly, pocket music. Includes ‘Saturday's Lover’, ‘Wind Corridor’, ‘The War Song’ and more.
Includes detailed liner notes by Tatsuro Yamashita himself!

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brighde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-pop paragon Caroline Polachek's last album, has collaborated with Canadian composer/saxophonist Colin Stetson on her previous album (and this one also) and in the last couple of years has graced the stages of premier experimental festivals such as Big Ears (USA), Le Guess Who? (NL) and Supersonic (UK).

Sunwise is a revelatory album, steeped in landscape, ritual, minimalism and the eternal presence of the drone.

Rachika Nayar und Nina Keith veröffentlichen am 18. Juli unter ihrem neuen Projekt Disiniblud ein selbstbetiteltes Album!

Rachika Nayar und Nina Keith, aka Disiniblud, treffen sich in Brooklyn, in einem Park, der so klein ist, dass man nicht aneinander vorbeigehen kann, ohne sich zu bemerken. Sie reden. Erst über Musik, dann über alles. Über das, was war, über das, was nicht mehr sein wird. Post-Lockdown-Liebe auf Distanz, als würde man sich an jemandem festhalten, den es nie ganz gab. Buddhismus, Hinduismus, ein Soundtrack, den sie beide als Teenager geliebt haben. Ein Gespräch ohne Worte. Eine Verbindung, die sich anfühlt wie eine längst vergessene Kindheitserinnerung. "Disiniblud", das selbstbetitetelte Album, das am 18.07.2025 via Smugglers Way erscheint, ist das Echo davon. Rachika Nayar und Nina Keith verfolgen unterschiedliche musikalische Ansätze, die sie im gemeinsamen Projekt Disiniblud zusammenführen. Rachika veränderte mit ihrer 2022er LP "Heaven Come Crashing" ihr Repertoire: Statt Ambient-Gitarren setzt sie nun auf maximalistische Synthesizer, tiefe Sub-Bässe und Amen Breaks. Diese Fusion aus Post-Rock und Elektronika wurde von Pitchfork als Best New Music ausgezeichnet und fand Anerkennung in Medien wie The New York Times, Stereogum, Fader und GQ - zudem eröffnete sie Tourneen mit M83. Nina Keith ist bekannt für ihren autodidaktischen Kompositionsstil. Ihr Debüt "MARANASATI 19111" präsentierte sie mit Instrumenten wie Cello, Klavier, Klarinette und Flöte, um persönliche Erfahrungen und Erlebnisse im Zusammenhang mit Gemeinschaftstraumata und paranormalen Ereignissen musikalisch zu verarbeiten. Mit neuen Veröffentlichungen wie "Come Back Different" featuring Julie Byrne erweitert sie ihr Spektrum durch den Einsatz modularer Synthesizer und komplexer Vokalarrangements.





e a5. [it could happen]




[j] b5. [as is most (bimbo it out)]





[e] a5. [it could happen]




[j] b5. [as is most (bimbo it out)]

Blues-rock titan Joe Bonamassa is back with Breakthrough, his powerful new studio album dropping July 18th.

Produced by longtime collaborator Kevin Shirley (Iron Maiden, The Black Crowes, Journey) and co-written with Grammy-winner Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), Breakthrough captures Bonamassa at the height of his creative powers. Expanding his signature sound while staying true to the deep blues roots that launched his storied career, the album promises raw emotion, blistering guitar work, and fresh sonic twists.

With over 50 albums to his name and an unprecedented 28 #1 Billboard Blues Albums, Bonamassa proves yet again that he's not just keeping the blues alive--he's driving it into the future.

* In April the European tour starts.
* Joe Bonamassa has sold well over 4 million records worldwide and has had 20+ #1 Billboard Blues Albums
* Joe Bonamassa has been featured on the cover of virtually every guitar magazine multiple times. His name is notorious among guitarists not only for being a virtuoso, but also for his incredible collection of vintage guitars, gear and memorabilia.

Tracks: Breakthrough / Trigger Finger / I'll Take The Blame / Drive By The Exit Sign / Broken Record / Shake This Ground / Still Walking With Me / Life After Dark / You Don't Own Me / Pain's On Me

A warm breeze drifts through the open cabin of the boat, carrying the scent of salt and sunwarmed teak as it stirs the linen curtains. The man moves easily, bare feet against the wooden floor, the slow rhythm of the harbor rocking beneath him. He flips through his records with a knowing touch, pulling out a favorite—something smooth and mellow, with buttery vocals and melodies that drift like a sailboat on calm waters. The needle drops, and honeyed guitar riffs spill into the air, effortless and sunlit. He reaches for the bottle of rum, the ice in his glass chiming softly as he pours, then adds a squeeze of lime, a lazy stir. Outside, the water glows in the last light of day, golden ripples stretching toward the horizon. He leans back against the cushioned bench, drink in hand, the music swirling around him like the evening breeze—unhurried, weightless, exactly where he wants to be.


Small Talk brings together a carefully curated selection of long-forgotten, yet remarkably smooth and captivating soft rock and AOR tracks from the ‘70s and ‘80s, compiled by Brandon McMahon. These lesser-known songs are drenched in lush harmonies, dreamy guitar riffs, and mellow rhythms, capturing the essence of an era without the mainstream recognition. For those with an ear for the obscure and a taste for the subtle, Small Talk offers a fresh perspective on an era’s most overlooked gems.

Coral Grief, das Rocktrio aus Seattle, und Air Between Us, sein Debütalbum, sind treffend betitelt. Die ersten Töne von Sam Fasons Gitarre im Opener ,Starboard" treffen wie ein Windstoß Seeluft ins Gesicht. In nur wenigen Sekunden schwebt man, zu gleichen Teilen unter dem Himmel und über dem Meer. Es ist ein ähnliches Dazwischen, in dem Coral Grief gedeihen, denn sie konstruieren ein kunstvolles Geflecht aus doppelten Bedeutungen in dieser Hommage und Lobrede auf ihre Stadt und Community. Die Sängerin und Bassistin Lena Farr-Morrissey und Fason sind durch die psychische Chemie verbunden, die man nur durch jahrelanges gemeinsames Spielen in Bands entwickeln kann. Die Gitarre von Fason ist das Segel zu Farr-Morrisseys Anker, und hier schafft er Texturen, die so dicht sind wie der Wind. Das Bindeglied - der Motor in dieser nautischen Metapher - ist Schlagzeuger Cam Hancock, der von gemeinsamen Freunden wärmstens empfohlen wurde. Sein treibendes Spiel dient als Brücke der Ideen, als letztes Puzzlestück, als Meister der Dynamik und Übergängen, der ihre Songs in neue Gefilde treibt, ohne dabei aufzufallen. Gemeinsam lassen sie sich von Stereolab, Broadcast, Th' Faith Healers und Seefeel inspirieren, und umrahmen diese sehr spezifische Sorte von britischer Coolness auf eine einzigartige Weise wie es sie nur im pazifischen Nordwesten gibt. Um die Songs zum Leben zu erwecken, begab sich das Trio ins The Unknown - eine eine stillgelegte Kirche, die als Segelmanufaktur und Aufnahmestudio in Anacortes, WA dient. In Zusammenarbeit mit dem Toningenieur Nich Wilbur, der sich von fünf Matchas pro Tag ernährte, wurde der Arbeitsraum zu ihrem Workshop. ,Wir wollten die Dinge zu dritt angehen, aber auch, dass es so üppig und voll wie möglich klingt", erklärt Fason.

GRAMMY-award winning blues icon Koko Taylor was a force of nature. The legendary Queen of the Blues was one of the genre’s best-selling and most recognizable artists. With her huge, gritty voice and the backing of her powerhouse band, The Blues Machine, she delivered tough Chicago blues over a 45-year career, ending with her death in 2009. For people all over the world, her music IS the blues as much as BB King’s or Buddy Guy’s. Crown Jewels is the first new Koko Taylor vinyl to be released in 35 years, and as the title makes clear, it’s packed with over 50 minutes of the finest performances from her celebrated Alligator years. These are songs blues fans know and love by heart, from “Wang Dang Doodle” to “Hey Bartender” to “Let The Good Times Roll.” It’s gritty, unvarnished, old-school blues and proud of it, every track infused with Koko’s ageless energy and passion. Fellow Chicago blues greats Buddy Guy and Carey Ball guest.

Five tracks of future electro-funk from Spanish DJ and producer Lefrenk, who makes his Gated debut.

Across five expertly warped tracks, the EP pulls from 80s Balearic sunsets, fried breakbeats, warehouse-scented house music, and electro that’s been lightly basted in funk and grilled over a lovely DAW.


‘Brainstorm’ kicks off with pummelling beats then goes widescreen, like a sci-fi epic barging into your set uninvited but winning you over immediately. It’s bold, abstractly beautiful, and absolutely means business.

‘Clocks’ loops squelchy bass and a twinkling melody that develops masterfully, intent on living in your head proudly — like a tenant who pays rent on time and doesn’t play the saxophone.

‘Funk Awake’ could soundtrack a very stylish chase scene between two people in vintage tracksuits.

‘Ocaso’ slows it down a little — warm and woozy, but with snappy, electrified beats holding it up like a drunk at a bar vying for the bartender’s attention.

Rounding things off, ‘Relative Point’ floats somewhere between VHS nostalgia and late-night contemplation, where the insistent beat and bass hold steady and the synths do the wandering.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

BEST SELLERS IN VINYL CHARTS* Rather Christmas party than con- templative get-together? Rather mulled wine than hot milk and New York instead of Nuremberg? Then Santa Claus has the right soundtrack for your Winter Wonderland. The Christmas classics of the big stars for the most wonderful time of the year with the guarantee of entertaining, enjoyable and merry Christmas mood. Run, Rudolph Run!

THE KING ON CHRISTMAS Elvis‘ Christmas Album is one of the absolute clas- sics of Christmas albums. Released for the first time in 1957, it has been as much a part of Christmas as the Christmas tree and mulled wine ever since. To this day, Elvis‘ Christmas Album is the best-selling Christmas album in the world and also one of the best-selling albums of all time.

MR. CHRISTMAS In the beginning there was White Christmas and the Christmas albums of Bing Crosby. Everything else came after and can hardly compete with that success. Bing Crosby‘s sig- nature song White Christmas is still the best-selling single of all time, with 50 million units sold. The song, composed by Irving Berlin, first appeared in Crosby‘s film Holiday Inn. The composition won the Oscar for Best Original Song at the 15th Academy Awards. The song was so successful that it topped the charts again year after year, 16 times in the USA alone. The same goes for Crosby‘s Christmas albums. The records, which have been repeated over the past 70 years, have accompanied many generations and have become an integral part of Christmas. Christmas without Bing Crosby, without White Christmas would be something like doing without a Christmas tree, mulled wine or presents. So let‘s rather not try it!

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Pond Life Records presents Humble B Flat’s third vinyl release – Blessings of the Sun, a spiritual jazz-infused deep house double LP.

His previous album, Source of the Nile - promoted through a more grassroots approach than this forthcoming release — saw great success, with purchases via Bandcamp by deep house legends like Osunlade and Kai Alce. It also received radio play on shows such as Macca’s acclaimed The Glove That Fits on NTS, among others.

The release has garnered heartwarming messages from the likes of Coflo, Tour-Maubourg, Delfonic, and Felipe Gordon, and was recently spotted in FloFilz’s Spotify recommendations.

Blessings of the Sun has already been lighting up dance floors at loft-inspired parties such as Giant Steps, Luar, and Beija Flor.

Blessings of the Sun is receiving a more focused promotional rollout. It has already been played on rising star Millie McKee’s NTS show. As with past releases, only a limited number of copies will be pressed. Artwork is by renowned artist Annie Fiddian Green, and more new music from Humble B Flat is on the horizon.

With a Pond Life stage takeover set for one of Resident Advisor’s top festival picks, Gottwood, pre-empting the release, we’re excited to see where this double LP from Humble B takes us.