quête:alive

Blue vinyl. Since forming in Western New York in 2016, Feeley and his musical partner Matt Cox have blurred the line between absurdism and existentialism, swirling ‘90s melodicism, new-millennium pop-punk energy, and heartfelt emo into a wry, smirking rock sound. Now, on their third album, Gangster of Love, the duo let their melting pot sonic palette go further than ever, exploring the outer edges of their musical spectrums. Produced by Sam Guaiana (Neck Deep, Bayside), Gangster of Love follows

2021’s SUP and 2018’s Tequila Sunrise and found the duo fleeing Buffalo for Los Angeles, where the push and pull between the two songwriters – the real magic at the heart of Super American – was allowed to flourish and grow in a brand-new environment

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

BARONESS' Yellow & Green finds a band that has developed into more than just giants of the metal underground, they are now fully formed hard rock titans.

(180gr vinyl) Dizzy Mandjeku & Odemba OK Allstars, the esteemed Congolese musical ensemble, joyfully announces the forthcoming release of their latest masterpiece, "Odemba Nostalgie - Rumba Congolaise," on vinyl format.



Dizzy Mandjeku is considered a living guitar legend. The guitar riff from Stromae’s Papaoutai, ten years on tour with Zap Mama and besties with Baloji. Over the years he has built up an entire repertoire with the greats of Congolese rumba. Cuban rumba was vibrant in Congo and it didn’t take long before traditional elements started to blend with modern instruments. With Franco Luambo and his band T.P.O.K. Jazz at the forefront, the music evolved into a brand new style called Rumba Odemba. Dizzy, having been a member of the T.P.O.K. Jazz later founded the Odemba OK Allstars in Brussels in order to keep th unique ‘Rumba Odemba’ alive.



As an hommage to Franco Luambo, Dizzy took six of songs he used to play with him and interweaved them into two medleys: ‘Odemba #1’ and ‘Odemba #2’.



"Odemba Nostalgie - Rumba Congolaise" pays homage to the timeless tradition of Congolese rumba. Guided by the expertise of producer Toms Ntale and mixer Vincent Kenis (Crammed Discs) the album delivers an authentic listening experience that transports listeners to the heart of Congo's vibrant music scene.



"Dizzy Mandjeku & Odemba OK Allstars bring pure Franco OK Jazz rumba to the stage - brassy, funky, soukous heaven, with the enduring sound of the 60’s and 70’s getting everyone dancing and whooping." - Songlines (Anita Scott)

Aided by her producer, the Osaka- born saxophonist Hisatsugu Suzuki, and his band, Wong has created a stylish jazz album brimming with her trademark soulful vocals drizzled over syncopated grooves. Taking well- known songs from the repertoires of pop music acts as diverse as Phil Collins ("Against All Odds"), Pet Shop Boys ("It's A Sin"), Dead Or Alive ("You Spin Me Round") and Toploader ("Dancing In The Moonlight"), Wong refashions her source material to reflect the cool jazz-flavored sophistication that is at the heart of her unique artistry. From emotive ballads to buoyant uptempo material, Susan Wong reveals her outstanding interpretative skills, revealing that she is a song stylist supreme.

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

Who said rock'n'roll is dead?! Maybe Dr Frankenstein's made a rock 'n' roll monster cuz it sure seems alive to me. We introduce to you the debut LP of MARTIN SAVAGE AND THE JIGGERZ! All three gentlemen in this power trio have a solid background in the rock 'n' roll business which we won't bore you with here. The band has already released a slew of solid 7" records which we won't bore you with here either. Get on the internet ya lazy sods! Anyway, back to this here album: recorded by Ed Deegan at the esteemed Gizzard Recording Studio up in Fish Island, East London, on magnetic tape it delivers 12 solid senders of pure heart-on-the-sleeve rock 'n' roll action! From the blastin' drumroll of opener 'Between the Lines', a staple in the band's live set, via punk ballad anthem 'Down the Line' leading up to another live favourite called 'Boomerang'. There are covers of should-have-been-legends with bad-ass names like the Backstabbers or the Stripes. There are songs about shitty jobs, troublesome relationships, life on the high and life on the low. It's got everything you need really. Whether ya dig Boston 1976, Medway 1986 or Memphis 1996 there's something for you here. You can call it punk, pub rock, garage, glam or any other label you like but we just call it good ole rock 'n' roll. Hope ya dig!

: League of Legends Worlds is an esports championship like no other — not only prestigious, but gargantuan in scale and chock full of production grandeur. A culmination of each LoL season, Worlds is the place for the very best League of Legends players to come together and compete at the highest level, battling for the Summoner’s Cup, a multi-million dollar prize, and, of course,
eternal glory.

An eminent event like Worlds demands a legendary theme song to match. Each year, Riot Games taps talented superstar musicians to craft a new Worlds Anthem, performed live at the competition and released later with a music video to match. These themes, from incredible artists like Zedd, Lil Nas X, and now, for 2023, NewJeans, have never been collected together on a single vinyl release — until now.

iam8bit and Riot are proud to present League of Legends Worlds Anthems (Vol 1: 2014-2023). It’s a full decade of Worlds Anthems, collected together on two sides of a 1xLP for the very first time. We knew this illustrious release deserved a very special vinyl treatment. That’s why we pressed the record on a Worlds Blue Vinyl. Plus, it wouldn’t be an iam8bit release without fantastic cover

art to adorn your record shelf, so we tapped our pals at Envar Entertainment to craft amazing illustrations celebrating the past, present, and future of the League of Legends Worlds Championship.

Legends never die. Celebrate a decade of Worlds in style with this one-of-a-kind release.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Horace Andy a.k.a.Sleepy must process one of the sweetest and most distinctive voices in reggae music. 1951 in Kingston Jamaica. He cut his first track in 1966 for producer George ‘Phil’ Pratt, a tune called ‘Black Man’s Country’. But it was four years later his star really began to shine when he joined the stable of Clement ‘Coxsone’ Dodd’s Studio One. It was Coxsone Dodd who renamed him Andy after another of his leading artists Bob Andy, such was his belief in Horace’s writing talent and singing abilities. Still only twenty years of age Horace used his falsetto talent to the fore and cut some impressive tracks at 13 Brentford Road, Studio One’s headquarters. Such reggae standards as ’Skylarking’, ‘Just Say Who’, ‘Love of a Women’ and ‘Something on my Mind’ to name but a few. The early 1970’s saw Horace due to political reasons move on to work with producer Bunny Lee, a move that suited his talents and beliefs, Horace being an early advocate to the Rastafarian faith.The tracks which he cut with Bunny, which we concentrate on here gave his songs a rootsy feel. The rhythms often cut at Channel ONE and Randy’s Studio17 and finalised at King Tubby’s, provided a fine backbone for Horace to recut some of his earlier classics, along side his newer songs also to become reggae standards. Like ‘Money Money’, ‘Zion Gate’ the great ‘You are my Angel’ and a version of The Heptones ‘My Guiding Star’. The power of these recordings were such that the earlier tracks like ‘Skylarking’ became hits a second time around.Proving that the ‘you can’t keep a good tune down’ mantra was alive and kicking… …A golden time for Horace and Reggae music in general… Horace would go on to work with other producers like Everton Da Silva in 1977 creating the ‘In the Light’ album and the New York based Lloyd ‘Wackies’ Barnes in the 1980’s for his ‘Dancehall Style’ recordings. Most recently his work with Massive Attack has brought his majestic voice full circle and back into the arena once more. Those ‘Massive’ recordings and this dub collection here seem to fit side by side. Horace’s distinctive vocal riding over the rhythms adding a magic as only he can .....

RESPECT JAH FLOYD.

Lange nicht auf Vinyl verfügbar ist „Native Tongue“, das vierte Studioalbum der „Hair“ Metal Band Poison, endlich neu aufgelegt worden. Im Original wurde das Album 1993 veröffentlicht. „Native Tongue“ erreichte die Top 20 sowohl in den US Billboard Top 200 als auch in den UK Album Charts. Neben der Stammbesetung mit Brett Michaels, Bobby Dall und Rikki Rockett wurde Richie Kotzen an der Lead Gitarre verpflichtet. Native Tongue wurde von Richie Zito produziert. Die vorliegende 2LP Version enthält drei Bonus Tracks, die nicht auf dem Originalalbum enthalten waren.

'Hex Dealer' ist das Debütalbum der New Yorker Electronic-Punk-Band Lip Critic. Produziert von Sänger Bret Kaser sowie Connor Kleitz. Ihr eklektischer Sampling-Stil wird durch die ansteckenden Breakbeats und knackigen Snares der Schlagzeuger Danny Eberle und Ilan Natter noch verstärkt.

12 rasante Tracks, eine einzigartige Mischung aus klassischem Punk/Hardcore und elektronischen Stilmitteln. Postmoderner Pop wie gemacht für eine Zukunft ohne Genregrenzen. Unverwechselbar, tanzbar, manisch und pendelnd zwischen den extremsten Emotionen.

NME ("auf dem Weg zur nächsten großen NYC-Band"), Paste ("ein apokalyptisches Ödland aus NYCs bestem Underground-Punk"), Rolling Stone ("Songs, die man kennen muss"), Loud & Quiet ("einer der meistdiskutierten Acts in NYC"), Mary Anne Hobbs auf BBC 6 Music und Matt Wilkinson ("absolut unverzichtbar") feiern Lip Critic schon jetzt.

'Hex Dealer' ist das Debütalbum der New Yorker Electronic-Punk-Band Lip Critic. Produziert von Sänger Bret Kaser sowie Connor Kleitz. Ihr eklektischer Sampling-Stil wird durch die ansteckenden Breakbeats und knackigen Snares der Schlagzeuger Danny Eberle und Ilan Natter noch verstärkt.

12 rasante Tracks, eine einzigartige Mischung aus klassischem Punk/Hardcore und elektronischen Stilmitteln. Postmoderner Pop wie gemacht für eine Zukunft ohne Genregrenzen. Unverwechselbar, tanzbar, manisch und pendelnd zwischen den extremsten Emotionen.

NME ("auf dem Weg zur nächsten großen NYC-Band"), Paste ("ein apokalyptisches Ödland aus NYCs bestem Underground-Punk"), Rolling Stone ("Songs, die man kennen muss"), Loud & Quiet ("einer der meistdiskutierten Acts in NYC"), Mary Anne Hobbs auf BBC 6 Music und Matt Wilkinson ("absolut unverzichtbar") feiern Lip Critic schon jetzt.

1982 wurden Universe in Schweden gegründet. Nach dem Ausstieg aus der Band Moon gehörte Leadgitarrist Michael Kling zu den Gründungsmitgliedern, Bassist Hasse Hagman, der zusammen mit dem Schlagzeuger Anders Wetterström und dem Gitarristen Per Nilsson in der ersten Band von Joey Tempest spielte, kamen alle aus der Band Twilight. Keyboarder Fredrik Kriström und Sänger Kjell Wallen komplettierten die Band. Die Band löste sich Anfang 1988 auf, die Bandmitglieder tauchten hier und da in unterschiedlichen musikalischen Kontexten auf. 2002 trafen sich alle Mitglieder zum ersten Mal seit 14 Jahren. Zuerst fehlte UNIVERSE ein Sänger, aber plötzlich war eines Tages Andreas Eklund (ex-House Of Shakira) da. Seine erzählerischen Texte und geschmackvollen Melodien öffneten die Tür zu einer anderen musikalischen Dimension. 2018 kehren sie mit "Rock Is Alive" zurück. Jetzt also endlich das 3.Album und die Band ist wild darauf auf den Konzerten die neuen Songs und die alten Klassikern zu spielen.

"Miranda Winters, as the voice of Chicago’s much-loved noisemakers Melkbelly, has spent the past few years happily in her own shadow. While she has quietly written and occasionally released her own music for 15 years, Winters finally steps out into the bright light with the release of Lawn Girl, the debut album under her Mandy moniker.

The album, a combination of older songs and newer creations, feels positively and endearingly alive–like a freeing of pent-up energy, an intimate rebuilding of the self. While Winters recorded and produced a number of the songs herself, she worked with Taylor Hales at Electrical Audio to feed those songs back into the studio, where they were re-recorded with room mics and worked back into the original versions. “I see it like photocopying,” she says of the process. “I’ve always loved working with photocopying and related printing techniques in my visual art because of the way everything decays and falls apart. It was nice to honor that on the record.”

Performed by an all-women band–Linda Sherman (guitar), Lizz Smith (bass) and Wendy Zeldin (drums)–the songs on Lawn Girl suitably find Winters ruminating on the idea of femininity; about her mom (who graces the album cover) and being a mother herself; her female friends; and what it means and what is required to make art and music in a female space intentionally."

Dive into the revolutionary Latin rock vibes of Traffic Sound with their 1970 masterpiece, "Virgin."

Originating in Lima, Peru, this iconic album marked a turning point for the band, fusing psychedelia, hard rock, and a touch of progressive rock with a distinct Latin flavor. The self-written tracks, notably the anthem 'Meshkalina' with nods to local culture, showcased the band's unique blend of influences.

Includes extensive liner notes and the original artwork on tip-on gatefold sleeve.

Son Mieux is a collective formed around Dutch singer, songwriter & producer Camiel Meiresonne. Once the keyboard player in Soul Sister Dance Revolution and in his young years frontman of All Missing Pieces. After playing in bands since he was eleven years old, he is now a grown young man, ready to invite the world into his own. Son Mieux writes his songs in the after hours, which make his songs both intimate & alive. By combining folk, indie and electronic music, he manages to create a unique sound and to process the expressions of his personality in his music.

The past two years have been an accumulation of highlights for Son Mieux. Single 'Even' became 3FM Megahit, debut EP 'Vice Versa' (2016) was streamed more than 6 million times and the song 'Easy' was used under major advertising campaigns from ING, McDonalds and Deezer. The band toured the country with sold-out club shows, festivals such as Zwarte Cross and Where The Wild Things Are.

In 2017 and 2018 they took their time to write the debut album. With singles 'Hiding', 'Everyday' and 'Old Love', the debut album Faire de Son Mieux makes a more mature and fuller sound. Together with producer Thijs van der Klugt (Douwe Bob, Sue the Night), a deepening was sought without losing the characteristic Son Mieux sound.

Faire de Son Mieux is available as a limited first pressing of 500 individually numbered copies on white vinyl. The package includes 5 exclusive inserts with song lyrics and photos.

“A corollary is a statement that follows naturally from another statement”

Presenting Corollary1, the first release in a new remix series flipping cuts from O.M.Theorem’s Lemma projects.

For this one we invited good friends DJ Sotofett and Ossia. Regular conspirators in bacalao and dosa dinners, monthly hangouts at Globus-Tresor and sound system parties in Milano & Bristol. Through appreciation of similar frequencies and shared experiences, friendships grow. It felt natural to invite the two to do remixes for us. One evening we bumped into them on the dancefloor during a live concert by Senegalese percussion outfit Ndagga Rhythm. This was a sign. BAM! The EP came alive.

On the A-side, we hear two fresh takes on Lemma1-B2. DJ Sotofett with his dub heavy output on Honest Jon's and Sex Tags Amfibia invites Ghanese Afro-Dub drummer Ekowmania for vocals and usual collaborator LNS for keyboard work on his sub-deep club-stepping colourful remix. We bet the infectious vocals will linger in your mind for a long time. Play it LOUD for full sub bass effect! The second interpretation of the same track is from O.M.Theorem. A techy dubstep banger, this one!

On the B side, Bristol and Peng! Sound's Ossia picked his favorite Lemma1-B1 and drove the mixing desk in true Dub-style fashion with a classic riddim that meets an avant garde melody going in and out of the mix. This is a remix that deserves attention, with every listen revealing new layers and details. Even the premasters sounded phat as a greasy hamburger on the German capital’s legendary Super Power Soundsystem! The second interpretation is from O.M.Theorem, rebuilding percussion and bass from Lemma1-A1. Liberating himself from all restrictions the result is a footwork-reminiscent 160 cut, ready for the dance floor.

Repress! PRESSED ON BLUE & WHITE SWIRL VINYL! Housed In A High Gloss Jacket With Each LP Tucked Into A Printed Inner Sleeve

Nasir "Nas" Jones' 2001 record Stillmatic was considered a major comeback for the 90s rap icon. It signalled a return to the gritty, urban chaos of his acclaimed debut album, after releasing record after record of gradually more mainstream material, and Nas' return to prominence in the highest echelons of hip-hop. In spite of this newfound critical clout, Stillmatic's release did nothing to squash his then ongoing feud with fellow New Yorker Jay-Z, who had gone so far as to challenge Nas to a pay-per-view rap battle. A challenge Nas rejected, stating "If Jay-Z wants to battle, he should drop his album the same day I do and let the people decide." Nas fans never would get the no-holds barred lyrical battle with Jay-Z many had speculated. What they got instead was one of Nas' most personal and introspective releases to date in 2002. Not long after Stillmatic's release, Nas spent much of his time away from the limelight to tend to his ill mother, who would pass on from breast cancer in 2002. His experiences with his mother's mortality as well as the fallout of his feud with Jay-Z, who continued to produce diss tracks as Nas tended to his mother, would inspire much of the lyrical material on his next record. God's Son was released in December of 2002, and like Stillmatic before it, was subject to major critical acclaim. On God's Son, Nas effectively took the battle-hardened demeanor he had cultivated and tore it down across 14 tracks that were emotionally insular, though still dusted in urban grit, and still finding time to shoot back at Jay-Z's potshots on tracks like "Last Real Nigga Alive" and "Mastermind." Assisting Nas was a slew of top-tier producers like The Alchemist, Eminem, Ron Browz, and Salaam Remi, over samples of James Brown, the Incredible Bongo Band, Fela Kuti, and Beethoven, and guest vocals from Alicia Keys, Kelis, Claudette Ortiz of City High, and even a posthumous 2Pac.

Nick Llobet (they/them) was ready to throw in the towel. Llobet, who grew up in South Florida, learned to play guitar at a very young age, dabbling in everything from classical, blues, classic rock, and flamenco. They'd spent much of their early 20s searching for their voice as an artist and as an individual, as well as for a musical community Llobet would eventually move to Brooklyn, but after three years of looking for a hopeful artistic breakthrough, they spent much of their time in seclusion, consumed by social anxiety and imposter syndrome-and they were considering abandoning songwriting completely. One day, while commuting through Penn Station en route to their partner's family home in Virginia (that would also lead to the crucial purchase of a secondhand Tascam cassette recorder), they noticed Patti Smith sitting alone, waiting for a train. The typically shy Llobet decided to approach the icon, who was, in turn, delighted to see that Llobet was carrying a guitar. At the end of their interaction, Smith offered some parting wisdom: "She wished me luck and said, 'Practice hard, Nick.'" Llobet took her advice to heart, and this chance encounter kicked off a personal and artistic rebirth. They started performing as youbet, a play on their last name, and began "changing their vision for what a song could be." youbet's debut, Compare & Despair, a delightful gem of a record that showcases Llobet's propensity for freewheeling whimsy and emotional intensity. In May 2019, inspired by a song-a-week writing group that produced Compare & Despair, Llobet started a second club in which contributors would upload that week's song to a private Bandcamp. Invigorated by this small musical collaboration, the feedback, and the accountability, Llobet wrote 18 songs throughout the duration of the club, twelve of which became Way To Be. After this songwriting marathon, Llobet spent 2020 focusing on instrumental guitar work and political engagement. By the summer of 2021, they were ready to revisit the Way To Be tracks. Over the next year-and-a-half, Llobet worked on the record relentlessly, refining the lyrics, recording, and arrangements from their apartment. Llobet self-produced Way To Be and describes the process as an enormous, labor-intensive undertaking that felt akin to "making a whole film." Along the way, Llobet was joined by collaborators, including Julian Fader (Ava Luna), Adam Brisbin (Buck Meek), and Daniel Siles. Across Way To Be's 12 delightfully off-kilter tunes, Llobet uses wordplay and tongue-in-cheek humor to obliquely explore dysfunctional relationships, regret, self-confidence or the lack thereof, queerness, and self-discovery. Fuzzy at the edges and filled with playful, kinetic arrangements, Way To Be is a bridge into the entrancing world of youbet. You won't want to leave.

Queen Rock Montreal captures the world’s most iconic rock band at the very peak of their live powers. Recorded in 1981 and recently released as a record-breaking digitally restored IMAX concert film, this landmark moment in the band’s history is now being released as both double Blu-Ray and double 4K Ultra High Definition packages, plus double CD and triple vinyl packages.

Marewrew (pronounced: Ma-leoo-leoo / mɑleːul̯ eːu)̯ is a female vocal group that sings traditional Ainu songs. The music of the long-suppressed people from northern Japan has been a particular focus of Pingipung's output in recent years, together with Oki Kano who recorded and produced many Ainu artists. Following various re-releases by Umeko Ando, the late grande dame of traditional Ainu music, the spotlight is now on the a cappella music of Marewrew, which by the way means ‘butterfly’ in Ainu. Attentive listeners will recognise the voices, as some of the band have already performed as backing singers on recordings by Umeko Ando. Their a cappella versions of traditional Ainu music shed a whole new light on the fascinating songs that have been passed down through generations exclusively through song. 'Ukouk' means 'round singing', which refers to the form in which Marewrew perform and record. Many of the songs are set as tightly interwoven canons: one starts, the others join in, but slightly out of phase: Almost like dub echoes, except that they are sung and not created in post-production. The short songs sometimes unfold into a wondrous trance ('Sikata Kuykuy', 'Honkaya') that seems to spin round and round - if singing can actually dance, then this is how. Nature sounds and woodpeckers can be heard ('Hawsa’), and there is a funny miniature in which the ladies imitate birdsong ('Takuro'). Things get hypnotic with an evocative song about stranded whales ('Hunpe Yan Na’) or an ode to the Orca as ‘Little Sea God’ (‘Pon Repun Kamuy’). The album culminates in unexpected pop ('Yaykatekara') or cumbia moments ('Kanerenren') with a band line-up including percussions and Oki Kano on the famous Tonkori harp. Marewrew are Rekpo, Hisae and Mayunkiki. Rim-Rim was a member of the group until 2022. Mayunkiki reflects on the ambivalence of performing traditional music as a contemporary band: "When we first started performing, we all thought we had to perform in an Ainu way. But over time we have become more and more open to new ways of singing. I think if our way of singing is seen as the only, correct way of our tradition, then it won't spread, it's not alive. We like it when it's traditional, but it changes, just like our voices have changed over time.” * 'Ukouk' is a selection of Marewrew's work from the last 13 years, compiled from CD releases by Pingipung's Andi Otto. Oki Kano has contributed unreleased material and added new versions of the songs which had only been released in Japan. The album has been remastered by Kassian Troyer and is now available on LP for the first time.

Sam Cooke’s SAR Records Story 1959-1965 gathers significant recordings of SAR Records – the label Sam Cooke co-founded, produced the majority of records for and was instrumental in operating. Groundbreaking artists such as The Soul Stirrers, Johnnie Taylor, Billy Preston, and Bobby Womack’s group The Valentinos are all featured, in addition to Sam himself. “The whole SAR Records Story is infused with Sam Cooke’s rapturous sense of how sacred gospel and sexual soul flow together, unbroken,” stated Milo Miles on NPR’s Fresh Air upon the set’s initial release almost three decades ago. In an era where black-owned labels were a rarity, Los Angeles based SAR Records was founded at almost exactly the same time as Motown, its Detroit counterpart. SAR was established in 1959 by Sam Cooke, music publisher J.W. Alexander, and S. Roy Crain, Cooke’s road manager and founder of gospel group The Soul Stirrers. The acronymous name standing for Sam Alex Roy, SAR sought to keep gospel music alive while simultaneously crossing over to pop audiences in the secular world. LPs 1 and 2 of the set focus on the former, while LPs 3 and 4 encompass the latter. From choosing talent, to writing a great number of songs, to producing, SAR was entirely the fulfillment of Cooke’s vision on a musical/creative level. The superstar singer, who had already crossed over from the gospel world himself, tirelessly coached the vocalists during SAR recording sessions, emphasizing diction. His methods are heard throughout the collection, as he is heard speaking to artists between takes. “And by Sam being there with you and just giving you that special attention, you wanted to give it to him like it was supposed to be. I think that’s what made SAR, SAR. Because he was selling himself through different artists.” – Bobby Womack. VERY LIMITED 1-2 COPIES ONLY PER SHOP

HYPERWIDE LUSTRE is Orchestroll’s debut record, a mini-LP released on Montreal’s GARMO – a highly curious and deeply devolved collection of music produced and performed for a run of live club sets by the duo.

Jester-like, this is music that laughs at you: because it’s funny, because it’s not; because you did too much, because you did too little. Because you’re too loud; too quiet. Wrapped in the exquisite production chops of Richard-Robitaille and Osborne-Lanthier, Hyperwide Lustre is quasi-sarcastic and fully irreverent, a shimmering hybrid of spectral dance music and avant classical; psychedelic, cinematic, fluid, and yet bejeweled with a crushing opulence. Lovelorn synths and haunted, clattering, percussion rolls through these halls. Will you follow them to their source? Or turn away?

Like a slow labyrinthine descent into ever-less-familiar passages, Orchestroll have crafted an album that feels genuinely puzzling and new. A warm welcome into a strange world. Two puppetmasters who lost control of their puppets long ago. The keyboard whispers, but the mouse decides the tale.

Seit der Veröffentlichung des ersten Terminal Nation-Albums "Holocene Extinction" im Jahr 2020 haben sich die Spaltungen in den USA nur noch vergrößert, die Fronten verhärtet und Kompromisse sind keine Option mehr. Das brandheiße neue Album "Echoes Of The Devil's Den" der Band verkörpert diese kochende Wut und erscheint einmal mehr am Vorabend eines wiederkehrenden Albtraum-Wahlzyklus mit fossilen Relikten aus dem 20 Jahrhundert.

Die Esenz von Terminal Nation besteht im Kern aus unverschämt heavy Midtempo-Riffing und Bulldozer-Breakdowns, die auf ein neues Niveau extremer Brutalität gebracht wurden - über denen Stan Liszewskis giftige Stimme die brodelnde Wut einer Bevölkerung ausstrahlt, die mit ihrer Geduld am Ende ist.

Doch jenseits dieses Unterbaus hat sich Terminal Nation's Songwriting beträchtlich weiterentwickelt, was sich in Songs wie 'Embers of Humanity' zeigt, der ein episches Heavy Metal-Flair in seine Balladen einbaut und sich zu einem Stadion-Banger steigert. Auf der Single 'Merchants of Bloodshed' streut die Band hymnischen, fast schon radiotauglichen Clean-Gesang von Jesse Leach (Killswitch Engage) ein - nur einer von vielen Gastauftritten auf dem Album.

Textlich predigt die Band in "Echoes of the Devil's Den" sowohl mit der vernichtenden Gesellschaftskritik, für die sie bekannt ist, als auch mit einer eher intimen, reflektierenden Erzählung, die sich auf einige massive persönliche Umwälzungen bezieht, die sie in den vorangegangenen Jahren durchgemacht hat. Geschmiedet in den Feuern einer schwelenden Frustration, greift Terminal Nation's "Echoes of the Devil's Den" mit der Kraft eines ausbrechenden Vulkans an und verbrennt die Falschheit unseres Zeitalters zu Asche!

Additional Vocals auf "Written by The Victor" by Todd Jones of Nails
Additional Vocals auf "Merchants of Bloodshed" by Jesse Leach of Killswitch Engage
Additional Vocals auf "Cemetery of Imposters" by K. Kennedy of Sex Prisoner
Additional Vocals auf "Spikes Under the Bridge" by Zak Vargas of Elysia
Additional Vocals auf "Release the Serpents" by Dwid Hellion of Integrity
Additional Drums auf "Written by the Victor" and "Dying Alive" by Juan Cebreros

Seit der Veröffentlichung des ersten Terminal Nation-Albums "Holocene Extinction" im Jahr 2020 haben sich die Spaltungen in den USA nur noch vergrößert, die Fronten verhärtet und Kompromisse sind keine Option mehr. Das brandheiße neue Album "Echoes Of The Devil's Den" der Band verkörpert diese kochende Wut und erscheint einmal mehr am Vorabend eines wiederkehrenden Albtraum-Wahlzyklus mit fossilen Relikten aus dem 20 Jahrhundert.

Die Esenz von Terminal Nation besteht im Kern aus unverschämt heavy Midtempo-Riffing und Bulldozer-Breakdowns, die auf ein neues Niveau extremer Brutalität gebracht wurden - über denen Stan Liszewskis giftige Stimme die brodelnde Wut einer Bevölkerung ausstrahlt, die mit ihrer Geduld am Ende ist.

Doch jenseits dieses Unterbaus hat sich Terminal Nation's Songwriting beträchtlich weiterentwickelt, was sich in Songs wie 'Embers of Humanity' zeigt, der ein episches Heavy Metal-Flair in seine Balladen einbaut und sich zu einem Stadion-Banger steigert. Auf der Single 'Merchants of Bloodshed' streut die Band hymnischen, fast schon radiotauglichen Clean-Gesang von Jesse Leach (Killswitch Engage) ein - nur einer von vielen Gastauftritten auf dem Album.

Textlich predigt die Band in "Echoes of the Devil's Den" sowohl mit der vernichtenden Gesellschaftskritik, für die sie bekannt ist, als auch mit einer eher intimen, reflektierenden Erzählung, die sich auf einige massive persönliche Umwälzungen bezieht, die sie in den vorangegangenen Jahren durchgemacht hat. Geschmiedet in den Feuern einer schwelenden Frustration, greift Terminal Nation's "Echoes of the Devil's Den" mit der Kraft eines ausbrechenden Vulkans an und verbrennt die Falschheit unseres Zeitalters zu Asche!

Additional Vocals auf "Written by The Victor" by Todd Jones of Nails
Additional Vocals auf "Merchants of Bloodshed" by Jesse Leach of Killswitch Engage
Additional Vocals auf "Cemetery of Imposters" by K. Kennedy of Sex Prisoner
Additional Vocals auf "Spikes Under the Bridge" by Zak Vargas of Elysia
Additional Vocals auf "Release the Serpents" by Dwid Hellion of Integrity
Additional Drums auf "Written by the Victor" and "Dying Alive" by Juan Cebreros

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

Das neue Album "Pandemonium II: The Battle of the Underworlds" des norwegischen Gothic Industrial Metal Phänomens GOTHMINISTER setzt die Geschichte des Vorgängeralbums "Pandemonium I" fort. GOTHMINISTER aus Norwegen ist ein unbeschreibliches Phänomen. Ein Faktor dieses Faszinosums ist die einzigartige Mischung aus modernem Gothic Industrial Metal, tanzbaren EDM-Parts sowie einer Prise Retro-Charme. Weitere Faktoren sind sicherlich die beeindruckenden theatralischen Liveshows oder die aufwendigen Musikvideos, die bisher mehr als 30 internationale Filmpreise erhielten. Die Musik ist schneller und eingängiger als je zuvor, gleichzeitig aber auch komplexer und moderner geworden.
Als Digipak & limitierte transparente Vinyl erhältlich.

Hana Vus "kontemplativer Indie-Pop fängt die Desillusionierung des jungen Erwachsenseins ein", schreibt der NME. Ihre neue LP Romanticism unterstreicht dieses Gefühl als ein Coming-of-Age-Werk, das die Vergänglichkeit der Jugend betrauert und nach einem Sinn sucht. Die in LA geborene Songwriterin macht seit der High School Musik und hat bereits ein Debütalbum und mehrere EPs mit glühenden, grüblerischen Hymnen voller Abstraktion und Emotionen veröffentlicht. Bei ihren früheren Arbeiten hat Vu immer wieder Feedback erhalten, aber für die Entwicklung von Romanticism hat sie sich von der Außenwelt abgeschirmt, um ihre eigene Vision zu bewahren. Das Ergebnis ist eine einheitliche Sammlung von Songs, die vor Tiefe und Intimität nur so strotzen. Die üppigen und lauten Songs erinnern sowohl an gitarrenlastigen Indie-Rock der späten Achtzigerjahre als auch an futuristisch anmutende Synthie-Bass-Schichten. Sie pulsieren vor Bedeutung und schütteln sich vor Verspieltheit, getragen von ihrer kraftvollen, sonoren Stimme und unterstrichen durch das von der Romantik inspirierte Artwork der Platte.

Repress of Child's EP "I". "If you're familiar with CHILD and are particularly a sucker for the keyboard, I'm afraid I've got some bad news - It's mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with "Age Has Left Me Behind", clocking in at 03:47 and ending with "Going Down Swinging", a 10:20 jam which definitely raises the temperature and which I'm confident will be talked about for a long time. In-between, one can find "The Other Song", which is not just another song, but a sublime cover of Spirit's "The Other Song", originally released as part of the album "Son of Spirit" in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song - the less fuzzy song of the EP but definitely a pure beauty (so is the original)." - More Fuzz

Orange vinyl, limited to 350 copies. Repress of Child's EP "I". "If you're familiar with CHILD and are particularly a sucker for the keyboard, I'm afraid I've got some bad news - It's mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with "Age Has Left Me Behind", clocking in at 03:47 and ending with "Going Down Swinging", a 10:20 jam which definitely raises the temperature and which I'm confident will be talked about for a long time. In-between, one can find "The Other Song", which is not just another song, but a sublime cover of Spirit's "The Other Song", originally released as part of the album "Son of Spirit" in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song - the less fuzzy song of the EP but definitely a pure beauty (so is the original)." - More Fuzz

CNTS sind zurück!

Nach einem Wirbelsturm von Tragödien, sowohl global als auch persönlich, sind Gitarrist Mike Crain (Dead Cross, Retox, Festival Of Dead Deer), Schlagzeuger Kevin Avery (Retox, Planet B) und Sänger Matt Cronk (Qui) mit dem neuen Gitarristen Koko Arabian und Bassist Rico Adair zurück, um ihr zweites Album zu veröffentlichen.

Nach der Veröffentlichung ihres Debüts "Cunts" (2019) konnten CNTS eine kurze Tour einschieben, bevor die Welt auf Eis gelegt wurde. In der Pause wurden Aufnahmen gemacht und Pläne für die Zukunft geschmiedet. Alle Pläne wurden jedoch über den Haufen geworfen, als Matt Cronk bei einem Autounfall verletzt wurde, was zu einem chirurgischen Missgeschick führte und ihn mit einem gelähmten Stimmband zurückließ, unfähig zu sprechen, geschweige denn zu singen. CNTS gaben schweren Herzens ihr Ende bekannt. Bis zum Winter 2023 widmeten sich die Mitglieder von CNTS anderen Projekten, als Cronks verletztes Stimmband entgegen den Prognosen seiner Ärzte zu heilen begann und seine Stimme innerhalb von zwei Monaten zurückkehrte. Im März dann waren CNTS zuversichtlich, dass sie es noch einmal versuchen könnten.

Gestärkt durch Cronks Genesung und die neue Besetzung, verbrachten CNTS den Rest des Jahres mit der Arbeit an ihrem neuen Album Thoughts & Prayers, dessen Titel von der Banalität unserer kollektiven Reaktion auf Krisen inspiriert ist. Inspiriert von ihren jüngsten Herausforderungen haben CNTS mehrere Jahre der Frustration und des Elends in ein gut artikuliertes und aggressives Statement kanalisiert. Songs wie "Smart Mouth" und "Thoughts And Prayers" erzählen von Cronks Schmerz und Wut während seiner verschiedenen Verletzungen und der anschließenden Genesung. "I Don't Work For You" und Eating You Alive" handeln von der Ungerechtigkeit des modernen Lebens. "For A Good Time (Don't Call Her)" ist eine Wutrede auf das uralte Thema des Streits mit dem romantischen Partner.

FOR FANS OF: IRON MAIDEN, SAXON, THIN LIZZY Mighty Music sind stolz darauf, die Veröffentlichung eines Live-Albums der TYGERS OF PAN TANG mit dem Titel "Live Blood" anzukündigen. Die Veteranen der NWOBHM, die Tygers, feiern derzeit ihr achtjähriges Bestehen bei Mighty Music. In dieser Zeit haben sie drei gut aufgenommene neue Alben veröffentlicht, von denen das letzte, "Bloodlines", im Jahr 2023 von der Kritik durchweg positiv aufgenommen wurde. Die Band, mit Gitarrist Robb Weir an der Spitze, zusammen mit den langjährigen Mitgliedern Jack Meille (Gesang) und Craig Ellis (Schlagzeug), hat für "Bloodlines" zwei neue Mitglieder aufgenommen: Gitarrist Francesco Marras und Bassist Huw Holding. "Live Blood" enthält Material aus der gesamten Bandkarriere, darunter Songs aus den ersten vier Alben bei MCA Records sowie aus den letzten vier Alben mit neuem Material. Jack Meille kommentiert: "Nach all der Zeit mit den Tygers ein Live-Album aufzunehmen? Ich hätte nie gedacht, dass ich das erleben würde, aber mit den Tygers Of Pan Tang habe ich gelernt, dass das "Unmögliche" möglich ist. "Live Blood" fängt die ganze Energie ein, die wir liefern, wenn wir unsere Lieblingssongs live und roh spielen!".
Die Aufnahmen wurden im Sommer 2023 im The Patriot in Wales (UK) gemacht und werden als Einzel-CD und als Doppel-Vinyl mit zusätzlichen Tracks erscheinen. Vor dem Album werden zwei Singles veröffentlicht: der Live-Favorit "Gangland" von ihrem legendären "Spellbound"-Album und das versteckte Juwel "Keeping Me Alive" von "Ambush".

ACCEPTs neues Teutonic Metal Meisterwerk Humanoid!

Die deutschen Heavy Metal-Titanen ACCEPT melden sich mit ihrem voller Spannung erwarteten neuen Studioalbum Humanoid zurück, das am 26.

April 2024 über Napalm Records erscheint! Humanoid wurde vom britischen Metal-Mastermind Andy Sneap (Judas Priest, Amon Amarth, Testament, Saxon, etc.) in seinen Backstage Recording Studios Ltd. in Derbyshire, UK, produziert und ergänzt die Diskografie der 1976 gegründeten Band um ein weites Erstklassewerk, das mit Sicherheit Fans weltweit in Ekstase versetzten wird. Humanoid erscheint in zwei unterschiedlichen CD-Formaten und auf Vinyl.

Humanoid reiht sich ein in absolute Genre-Klassiker wie das in den USA und Kanada mit Platin ausgezeichnete Balls To The Wall, Metal Heart und neueren Alben wie Blood of the Nations, oder dem #1 Album Blind Rage. ACCEPT haben bis heute über 17 Millionen Mal Tonträger weltweit verkauft und platzierten sich regelmäßig in den Top 10 der internationalen Charts.

The Finnish-Swedish composer and pianist Iiris Viljanen, has through her honest and fine expression, achieved success with everything from her Grammy-winning album "Den lilla havsfrun" to a role, and composer, in the theatre production "Det vilda”. Recently, she was at everybody’s attention and gained success at the Peter LeMarc tribute concert in Tele2 Arena in front of a 16,000 mesmerised audience. Later this spring, she goes on a performance tour together with Stina Ekblad. A performance based on her new album "Själsligt upvakanden vid Slussen". An album that enchants with honest, dreamy but concrete songs performed by an almost groovy band. An album where the darkness is accompanied by hope. She has never really sounded like this before, not so directly, alive and embracing.

Like all the best stories in rock 'n' roll, the epic journey of When Rivers Meet has never been plain sailing. Right now, the acclaimed Essex-based blues-rock duo Aaron and Grace Bond stand on the brink of their latest career peak, releasing fearless third album, Aces Are High, shaking stages on their Breaker Of Chains headline tour, toasting a third consecutive victory as UK Blues Federation Band Of The Year and pulling an army of fans along in the current. Combining powerful and heartfelt vocals with thundering guitar riffs, Essex-based Rock band When Rivers Meet offers originality with both talent and authentic personalities. Grace Bond leads with her larger-than-life vocals, as well as bringing raunched-up mandolin and violin instrumentals, while Aaron paints with seismic grooves, hypnotic cigar box licks and harmonies that stop all the clocks. With the Aces Are High material now rattling speakers and shaking stages everywhere from the UK festival circuit to Joe Bonamassa's Keeping The Blues Alive Mediterranean III Cruise in August, everything is flowing the right way for When Rivers Meet. "Looking back to 2019, when we really started as a duo, it's so surreal to think that now we're on our third album," reflects Aaron. "And when you see people singing the words back to you - my God, that's so emotional

Noir Brésil is the debut album from Franco-Brazilian artist, composer and producer Yndi. Formerly known as Dream Koala, she decided to retire the moniker back in 2017 and began writing what ultimately became Noir Brésil, a modern pop album where afro-Brazilian percussion meets French and Portuguese poetry to create an immersive soundscape. As Dream Koala, Yndi released EPs Odyssey (2013,) Earth. Home. Destroyed. (2014,) and Exodus (2015,) as well as popular single "We Can't Be Friends", gaining her international success and garnering multi-millions of streams across platforms. In 2020, there were so many images of black people suffering on social media. After that traumatizing year, Yndi needed images showing that being black wasn't only about suffering, she wanted healing images. It's exactly what the Afro-Brazilian culture has been doing for centuries, it conveys a strength that keeps us alive in a dehumanizing society. The title track "Noir Brésil" is a poem for her ancestors. Yndi wrote "Amazona" on an atabaque (Afro-Brazilian percussion) rhythm inspired by the myth of the Amazons, warrior women, and Douanier Rousseau's painting La Guerre. The violence of the lyrics contrasts with the melancholic harmonies. The song pays tribute to the anger and strength required by women to live in the contemporary world. The song "Novo Mundo" and its animated video directed by Nina-Lou Giachettia are a reflection of Brazil, through luminous and colorful landscapes. Here the evocation of the divine, the beauty and the violence of nature reflects perfectly the essence of Yndi'sdebut album.

Billy Reeves returns with new album Steve, released by Last Night From Glasgow in April 2024 - This new album follows his solo debut Nostalgia of the Future released in early 2023.