Cerca:daughter

Isa Gordon and Tony Morris were first brought together through their individual releases on Optimo Music, which established mutual respect within the label’s community. While they had not previously performed live together, they were invited to take part in a fundraiser hosted by Queen’s Park Arena in support of Glasgow NW Foodbank and later for JD Twitch’s end-of-life care. Tony asked Isa to contribute guitar and backing vocals to his set, including a track then called Last Night I Had a Dream. That performance became the seed for their collaboration.

The first phase of fleshing it out, recalls Tony: “Somebody said Isa sang like Shania Twain. That got me thinking about country music and call and response, prompting me to come up with alternative lyrics.” Isa remembers: “I cycled over to Tony’s house with my guitar, and we spoke about what the tune meant. It was about him being wrapped up in dreamland, luxuriating in his subconscious, while my character — impatient and trapped in her own routines — barely had time to remember her own dreams.” Tony continues: “Brilliantly I realised that I could never collaborate with anyone in situ and so I sat in the garden for two hours watching my wife tend to plants. Every now and again I would creep up the stairs and put my ear to the door. I could hear Isa warbling away and so would resume my garden watch. After two hours I went back upstairs to see how she was getting on, only to find that she had written one of the greatest songs I’d ever heard. I still think that.” Tony adds: “My overwhelming sentiment about Wake Up Baby is pride. I can honestly say that I’m more proud of it than anything else I have done. It ticks a whole load of boxes. Isa’s singing in various Scottish modes is unique. The way her electric guitar adorns the dance beat makes it a rock song as well as a dance and a C&W song — truly multi-genre.”

The B-side of the 12” release, Syringe Moustache, is a surreal, darkly playful counterpart to Wake Up Baby. The track was inspired by a dream Tony had: “I was in a shopping mall, in a two-level shoe shop, and my attention was taken by a little girl with a syringe taped beneath her nose like a moustache. She went about her business trying on shoes, confident and wise beyond her years. In the dream, I imagined her as the daughter of cultured, intelligent parents determined to raise her independently. I was struck by my own feelings of inadequacy — I knew I could never have coped with such a contraption myself.” Isa’s take on the meaning of this song somewhat differs: “Tony sent me the tune over Instagram months before I met him, and I was spooked — as far as I knew, he didn’t know anything about me, but the story felt like it was written about me as a little girl, growing up around heroin addiction. The syringe beneath the girl’s nose became a symbol of the inescapable constraints of that environment, literally written on her face, yet something you just have to carry on through. On a buzz from the serendipity, I added a full instrumental backing to this most bizarre of works.”

The result is absurd, unsettling, and strangely empowering, staking out its own surreal, cinematic space. The 12” dance single is a format Tony had long wanted to explore — a tangible artefact to leave for family, a medium that celebrates the physicality of sound and the ritual of listening. It allowed the artists to maximise the format’s potential: a strong, multi-genre A-side, a surreal B-side, and remixes that expanded the record’s sonic world. Glasgow music staples Auntie Flo and 100% Positive Feedback were invited to reinterpret the tracks, bringing their distinctive touch — Auntie Flo transforming the A-side into a luscious, dancefloor-ready meditation, and 100% Positive Feedback twisting Syringe Moustache into absurd, playful shapes with false-start drops and over-the-top vocal editing.

The cover photograph, taken at the University Café by Harrison Reid, captures Isa and Tony embodying the characters they brought to life in the songs — a visual reflection of the record’s narrative and emotional stakes. The Café also holds personal significance: it’s where all of Isa’s meetings with Keith McIvor took place, where she first remembers visiting Glasgow as a child, and a place Tony fondly likes to go to drip egg yolk down his tie and watch the world go by. Together, the 12” format, the remixes, and the artwork create a cohesive, tactile experience, amplifying the duality, theatricality, and emotional breadth of the collaboration.

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

"Death Is Not The End are on a mission to expand the musical archive, with compilations of everything from Jamaican doo wop to pirate radio idents and adverts weaving new threads into the history of music. Longing For The Shadow: Ryūkōka Recordings, 1921-1939 goes back to the beginnings of the recording industry in Japan, and a style merging traditional Japanese forms with western pop and classical. Swooning orchestrations and prominent vocals capture some of the melodrama and bombast found in US and European music of the time, but beds of plucked and strummed instruments give an ordered elegance, tying it firmly to Hogaku tradition. Not much has been written about Ryūkōka, and a 2017 book by Hiromu Nagahara gives some clue as to why, arguing that although popular with the public, it was dismissed by critics both for its adoption of western sounds and its dwelling on Japanese traditional styles. Close to a century later, those are some of the qualities that make this compilation so fascinating." - The Quietus

Motor city royalty Floorplan, aka Detroit techno pioneer and creator of minimal techno Robert Hood and his DJ/producer daughter Lyric Hood, announce their forthcoming inclusion in the deeply respected ‘fabric presents’ mix series with the release of their new single ‘You’re A Shining Star’, out now. The full mix drops on digital/vinyl/CD via fabric records on 28th November.

Robert has been a long-standing fabric favourite since the institution's earliest years, clocking up over 20 sets in Room 2, including a live session on New Year's Eve, 2012. In 2008, he'd turn in Fabric 39 which is among the most revered contributions to the fabric mix canon. Now, with the forthcoming ‘fabric presents Floorplan’ mix, the story comes full circle - marking both the duo’s debut on the iconic mix series and a monumental moment for the family project.

About Floorplan: Emerging from a musically rich Detroit upbringing steeped in Motown and vinyl culture, Robert Hood became an early member of the seminal ’90s collective Underground Resistance, helping to spearhead the rise of techno. Going solo, Hood created minimal techno with his Minimal Nation LP. Groundbreaking productions, acclaimed performances, and his own M-plant label followed, until in ’96 he formed Floorplan - an alter ego to expand beyond minimal techno into gospel, soul and house-infused techno. Immersed in music from an early age, Lyric eventually caught the same electronic spark that’s driven her father for decades. In 2014, after the release of Hood’s debut Floorplan album Paradise, the project evolved as the then-16-year-old Lyric joined him to perform as Floorplan, including a supreme closing set at Dekmantel’s Boiler Room stage. Two years later, Lyric officially became a full member of Floorplan, cementing their father–daughter collaboration, and they’d release their co-produced album Victorious on M-Plant that same year.

Manizeh Rimer, founder of London’s Love Supreme Projects, announces her debut album Mahku, releasing on vinyl and all digital platforms on December 5, 2025 via LEITER.

A bold contribution to contemporary spiritual jazz, the album was co-produced by LEITER labelmate ganavya – who recently released the celebrated Daughter of a Temple and Nilam. Recorded in early 2025 at LEITER’s Funkhaus Studio in Berlin, Mahku features eight chants, including a reimagined version of Fleetwood Mac’s Landslide, with ganavya appearing on three tracks.

The album brings together a stellar cast: Grammy-nominated Jai Uttal; bassists Ben Hazleton and Doug Weiss; harpist Miriam Adefris; pianist Jay Verma; and Manizeh‘s teenage daughter, Mahku Rimer, on vocals and guitar. Tracks range from a 3,000-year-old Zoroastrian prayer (‘Ashem Vohu’) to Sanskrit and Buddhist mantras (‘Asato Ma’, ‘Gate Gate Paragate’) to the devotional ‘Avan’s Sita Ram’, dedicated to Manizeh‘s late mother.

Mahku means “eclipse” and is also the name of Manizeh’s grandmother. Developed from her long-standing chanting practice and deep creative partnership with ganavya, the album opens and closes with three generations of women’s voices, exploring music as a timeless, intergenerational loop. Recorded in a space Manizeh describes as “suspending you in an infinite river of time,” Mahku is both personal ritual and universal offering, flowing through lineage, loss, and love.

MAIDEN is Laurine Frost's third instalment of the 'LENA' series - where the narrative conceptually revolves around the fictional musical journey of his imaginary daughter over the course of a series of albums. ‘MAIDEN' is deemed to be the most intense piece of the series yet, with the figure of the unstable, hesitant protagonist teetering between light and shadow. Dramatic depths and heights, often dark tones, composed chaos and rumbling polyrhythmia - somewhere far on the edge of jazz and rusty contemporary electronica.

*Mastered and cut by Stefan Betke at Scape Mastering

* 12” 180gr heavyweight vinyl, with printed inside-out cardboard cover

Black vinyl LP. Following 2019's acclaimed self-titled debut album, Metal Preyers take the left hand path into a gloomy backwater filled with haunted creatures and fraught with peril. "Shadow Swamps" again finds London-based Jesse Hackett handling the music and Chicago's Mariano Chavez fashioning the album's visual identity, which this time includes a short film and book for a fully immersive experience. "Shadow Swamps" is the soundtrack to a pitch-black fairy tale about a father and daughter as they journey through a swamp avoiding gremlins, red swines and crater creatures. Musically, it pivots between the clattering Czech new wave experimentation of "Valerie and her Week of Wonders" composer Luboš Fišer, or the magical, eccentric lounge of Birmingham's Broadcast, and the grinding industrial grot of Italian pioneer Maurizio Bianchi. This time around, Hackett has roped in production assists from his six year-old-daughter wonder Nyasha hackett who used phone memos to record herself singing - veteran Metal Preyers collaborator Lord Tusk, and Manchester-based painter, DJ and producer Richard Harris, aka Sockethead. The crew inks an unsettling, richly textured sonic landscape, with claws of rhythmic smoke curling around chiming otherworldly xylophone, disembodied fiddle drones echoing over screwed 'n chopped beatbox dirt and half-heard magical vocals buried under clouds of white noise. Track listing: 1 Murking Shadows 2 Ecto Green Code 3 The Preyers Forest 4 Scream Dreamer 5 Red Swines 6 Crate Creature 7 Carpenters Cabin 8 Slime Things Accent 9 Wasp Faced Invasion 10 Metal Mans Revolt 11 On Her Way 12 Gremlin Gurgle 13 Shadow Swamps 14 Escape - The Sunrise

First LP in new series from Finland, this subdue jazz drone album has the quality of dusk, but is never darker than the Nordic summers. Atonal & forceful at times, still padded and invitingly warm, it has 4 classy pieces that enjoy being on the fringes while slowly capturing the ear when organs drone, the TR-808 thumps, the percussive double bass and the saxophone layers fog of melodic growing waves of groove.

Produced by French duo Froid Dub who here step out of their digi-dub groove to slip into the synthetic post-punk colors of FOTOGENICO, the film by Marcia Romano and Benoît Sabatier, which follows the wanderings of a father in search of the story of his deceased daughter, with only the music she recorded as a clue. Featuring covers of tracks by The Field Mice, Luna and 1000 Ohm, this soundtrack is a pivotal element of the movie.

Nathalie Duchene & Radio Slave team up for summer anthem ‘We Are Youth’. CASSIMM remixes the track.

The Belgium-born, Paris-based Nathalie Duchene joins Radio Slave’s Rekids via a collaboration with the label boss himself. ‘We Are Youth’ lands 11th July 2025 and includes a remix from CASSIMM.

Embodying the spirit of summer with glistening piano keys, vibrant strings, and a snazzy bassline, Nathalie Duchene & Radio Slave's ‘We Are Youth’ brims with feeling. The vocal, sung by Radio Slave’s daughter, adds a layer of innocent nostalgia that clings to joyful memories. Rekids regular CASSIMM steps in for a remix, upping the tempo and flipping the track into a disco infused House cut.

Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Tiger Stripes, Tal Fussman, Oliver Dollar, The Hacker, and more.

The International Archives of Popular Music (AIMP), affiliated with the Ethnographic Museum of Geneva (MEG), is a label and collection dedicated to the preservation of world music. Founded in 1944 by musicologist Constantin Brăiloiu, it gathers over 18,000 recordings, from wax cylinders to digital formats. AIMP releases albums and collaborates with artists such as Midori Takada, exploring the connections between sound archives and contemporary creation. Through these projects, the label preserves and reinterprets musical traditions on a global scale.

Nu bossa icon Sabrina Malheiros has released four now classic original studio albums for Far Out Recordings. Her first, Equilibria, was originally released in 2005, ascending the daughter of Azymuth bassist Alex Malheiros to international acclaim. Celebrating 20 years since it was first released—for Record Store Day 2025—Equilibria will be available on vinyl for the first time ever.

A masterful collection of sambas and bossas, Equilibria strikes the perfect balance between classic Brazilian songwriting and modern production courtesy of Far Out mainstay Daniel Maunick. The album features some of Brazil’s very best musicians including members of Azymuth, as well as Incognito frontman and guitarist Jean-Paul ‘Bluey’ Maunick.

As one review put it, Equilibria is “guaranteed to turn your limbs to liquid…. Prepare to be swept away”

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

The time has arrived for the release of the long awaited EP by LEBA, with the prolific title - Into The Lights.

Carefully and thoughtfully crafted over two years, the legendary record producer of High Power Music, General Lee, teamed up with the magnificent Legends Sly and Robbie, to produce the daughter of legendary Jamaican Icon Toots Hibbert: LEBA.

This LP features 7 songs including a feature from Jamaican Portland deejay Blackout JA, on track "No one loves you like me", which was released in 2021. These songs carry you on a musical journey of time and space, on a dub and reggae background, which soothes the ears of its listeners, and gets them grooving to the bassline of the late Robbie Shakespeare OD and Sly Dunbar OD and Taxi Gang.

The songs paint a picture through conscious words and messages, heavy and spacey instrumentation, recorded & mixed at One Pop Recording Studio Kingston Jamaica by Rorey Baker. An atmosphere that will surely transport its listeners into the calm and relaxing space of reggae and dub music.

Silvil is excited to announce its third vinyl release, featuring a standout new EP from the talented Brizman. This collection offers three finely tuned tracks that push the boundaries of minimal house.

Renowned for his intricate soundscapes and deep, hypnotic grooves, Brizman has earned a respected place in the underground scene. His latest EP highlights his skill in crafting immersive atmospheres and driving rhythms, seamlessly blending subtle textures with layered precision.

The release kicks off with “Extended Life”, a captivating journey through pulsating basslines, delicate percussion, and a vocal sample that’s sure to uplift any dancefloor. Next is “Milly”, a special collaboration with gifted bass guitarist Lea Hart. This heartfelt track serves as a love letter to Roy’s daughter, Milly, adding a personal touch to the EP.

The final track “Tokyo Nights” brings peak-time energy with dynamic shifts and an irresistible rhythm, designed to keep the crowd moving into the early hours.

This EP showcases Brizman’s knack for creating music that resonates both on and off the dancefloor, making it a must-have addition to Silvil’s growing catalog.

Spotlight Records is proud to announce the release of the original soundtrack for Bruce LaBruce’s new film, The Visitor. Composed by the acclaimed UK-based DJ and producer Hannah Holland, the soundtrack presents an eclectic mix of cerebral soundscapes and pulsating dance floor anthems, a defiantly bold score for a truly provocative narrative. The deluxe limited edition double vinyl package comes with a guerilla sticker sheet.

The Visitor sees the legendary filmmaker and photographer continue his decades-long creative journey with a transgressive reimagining of Pier Paolo Pasolini’s 1968 classic Teorema, set against the dystopian backdrop of a paranoid, xenophobic post-Brexit London. Washed ashore from the sea in a suitcase, a mysterious refugee disrupts the lives of a privileged white family, leading them through a series of explicit and transformative encounters. The film, which features performance artist Bishop Black amid a series of explicit, hardcore sex scenes, premiered at the 2024 Berlinale Film Festival.

With reverence and reference to Ennio Morricone’s iconic score for Teorema, Hannah Holland has crafted a soundtrack that both honors the original and brings a contemporary twist. The album features collaborations with a stellar lineup of artists from both the queer and electronic music underground, including Ghost Culture, Jonjo Jury, Josh Caffé, Joy Joseph, ROY INC, and Ziah Ziah.

The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.

Second installment of the popular cover series. This time featuring exquisite covers of Bee Gees and Stevie Wonder!

Analog single cut from the compilation albums "Sweet Breeze" and "Sweet Breeze II" ('13), featuring lounge-style covers of classic hits from the 70's and 80's Western music!

The second installment of analog conversion presents the gem-like covers, adorned with the sweet and glamorous vocals of singer Mai Yamanaka, beloved daughter of the late Joe Yamanaka. You can't miss the delightful covers of Bee Gees's "Stayin' Alive", with its light rhythmic sense, and Stevie Wonder's "Isn't She Lovely", showcasing a bright, high-pitched, and melodious voice!

From Chillán, Chile, emerges Marcelo, a genuine talent,
He started in a band, singing and playing bass, now embracing electronic music's element.
His first EP "Got a Pineapple," a very organic and groovy, complete jazzy concept with intricate details, setting the mood smoothly.

"Rolling Out", brings a genuine bass killer, Perfect for the dance floor, a track that delivers thrill and thrillers.

Completing the debut is the legendary Losoul, a Playhouse icon, No introduction needed; his catalog speaks for quality, his talent not gone, minimal touch you can enjoy. Minimal master piece from Gathaspar for second remix very mental like he do always.

Together, they form an excellent combo, continuing our mission,
To print records of quality music, transcending shallow ambition.

For cover the daughters of Carmen Piemonte, Carmen Valbuena Piemponte.

After a successful career in the corporate world, marketing guru and full-time mom Cristina has taken a bold step into the music scene, inspired by the minimal grooves emanating from Romania.

Her Satya debut EP, titled "Plan B," showcases a unique and tasteful fusion of drum-based dance floor beats and hypnotic melodies.

Growing up composing on the piano and studying harmony, Cristina's musical roots strongly influence her creative process, resulting in tracks that offer a perfect balance between rhythm and musicality. With a focus on key themes such as family, music, and life philosophy, "Plan B" is a strong musical package filled with intention.

Her collaboration with friend and fellow artist Francesco Mami - "Les Filles” - a peak-time jam dedicated to their respective daughters - adds spice to the already flavorsome solo concoctions.

Sepp’s remix of the title track, infused with his Romanian and Macedonian folk roots, rounds the EP in a wonderfully playful manner.

Scheduled for release on May 17, 2024, "Plan B" is poised to make waves and gain attention from house music connoisseurs! Cristina's transition from the corporate world to the dance floor promises a refreshing and dynamic addition to the ever-evolving music landscape.

Mit "New Blue Sun" veröffentlicht André 3000 ein unerwartetes, rein instrumentales Album, auf dem Andre Flöte spielt und von anderen talentierten Musikern begleitet wird. Auf dem von Andre 3000 und dem Multiinstrumentalisten Carlos Niño koproduzierten Album "New Blue Sun" spielen Nate Mercereau, Surya Botofasina, Deantoni Parks, Diego Gaeta, Matthewdavid, V.C.R., Diego Gaeta, Jesse Peterson und Mia Doi Todd.

Diese limitierte 3-LP-Vinylauflage ist auf 180 g schweres schwarzes Vinyl gepresst und verfügt über ein ausklappbares Poster, bedruckte Innenhüllen und eine Notiz des Künstlers.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

Nuclear decay occurs when the nucleus of an atom is unstable and spontaneously emits energy in the form of radiation. The result is that the nucleus changes into the nucleus of one or more other elements. These daughter nuclei have a lower mass and are more stable (lower in energy) than the parent nucleus.

“Ábris Gryllus is a cross-disciplinary media artist and musician based in Budapest. He is well-known for several projects, collaborations and performative works with choreographers, sculptors, dancers and other musicians. As a tireless artist always open to new possibilities, Gryllus has worked on dance pieces, educational workshops and installations; he is one-half of the beat-oriented group FOR., and not least of all, he produces immersive electronic music under his own name. His solo materials include the frantic vocal-based ‘Canon’ (The Death of Rave) and two releases on Farbwechsel (‘Post_’, ‘A.D.’) that feature a rather focused, slowly forming approach to composition.

Upcoming album ‘Zwaluwe' to be released in May 2023.

Myrddin De Cauter, the youngest son of multi-instrumentalist musician Koen De Cauter, is a phenomenon in the world of contemporary music. As a teenager, he discovered the richness and originality of the flamenco guitar. To further develop the subtleties in his already masterful playing, he went to Spain to take lessons with some of the masters of flamenco guitar: Gerardo Nuñez, Manolo Sanlucar, …

His technical virtuosity, taste for experimentation and deep lyrical sensibility merge into a unique musical world. It turns out that Myrddin is not just a flamenco guitarist, but an exceptional multifaceted talent.
This talent, passed down through many generations, now expresses itself again in Myrddin's daughter Imre. At only four years old, she received her first cello. In 2018, she made her debut together with her father at the Gent Jazz Festival.

Now five years later, on their debut album Zwaluwe, together they take us on a journey that finds its origin in Myrddin's written compositions. Imre knows and feels the music of her virtuoso father like no other. She complements him in a sensitive, cutting and unctuous way. Making a perfect blend of sharp and soft. The album was recorded in a small chapel in remote Valouse, a village in the Drome region of southern France.

“While Myrddin tells mysterious stories and fairy tales with endless intervals of notes on his guitar, Imre hypnotises your soul with the sound waves of her cello.”

We've been writing new material as a trio since the first lockdown in the spring of 2020. 
An organic and electro-acoustic impulse that translates both mine and Eliete's need of self-archiving, 
re-inventing and auto-cannibalising Tetine's past, present and

future in order to explore other aural 
landscapes and modes of composing intuitively, while at the same time, re-experiencing moments of our 
trajectory as a hybrid organism. 



Music For Breathing was born as a respiratory, meditative, and improvisatory piece of DIY 
tropical-mutant-punk "chamber music" written for cello, voice, piano, organ and electronics. 
The work responds to the suspended acts of breathing and vertigos experienced in contemporary polluted
 environments in political, social and philosophical transitions, whilst investigating the 
secret ontologies of inanimate objects and architectures, as well 
as the echoes and ethics of modes of operating things. 



Recorded during the intense period of heatwaves that hit London between July and August 2022, in 
a small studio set up in our flat's kitchen - so that we could capture the acoustic instrumentation 
(in particular, for the recording of cellos) without much

noise interference from the street - 
this vinyl version of the album comprises of 5 distinct yet complementary reflective movements. 


Musically and lyrically, it explores the atmospherics and syntaxes of time and space, voice, rhythm, 
as well as themes such as hearing loss, menopause, pollution and respiration. It builds an expanded suite of unexpected 
electro-acoustic textures through repetition, minimalistic motives, simple melodies, chromatic 
developments, free counterpoint and atonalism. Conceived as an ode to the poetics of slowness, 
the sounds you hear give continuity to the music we composed for the performance-film 
The Ether - Prelude No.1 over the first lockdown in 2020 as it simultaneously explores the warmth, 
melodiousness and power of the cello in conjunction with electronics. 
Music For Breathing evokes this transitory moment: a place and time where language runs out, 
communication and information lose their functions, sound and meaning do not correspond. Facts do not correspond to contexts. Spaced Out in Paradise. The last degree of the structure, the 
loss of memory. The lost voice.


The album also features our 12-year-old daughter Yoko Afi on cello and vocals. It reflects 
a period of free sound experimentation influenced both by romantic composers of the late
 19th / early 20th centuries and contemporary electronic music. The pieces you hear were composed, arranged, and recorded 
with the joy and melancholy of "those who do not know". In other words, "with the arrogance 
of a second childhood" as Derek Jarman once put it. 'Agile and candid as a child'(1).

1) Manifesto da Poesia Pau-Brasil, Oswald de Andrade, Correio da Manhã, 18 de Março de 1924.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that keeps you coming back for more. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records since 1988, Paul is known and respected by many in the realms of underground House and Techno. Renowned for making hips and feet move at parties, clubs and fields across the UK and beyond over the last few decades.
As a label owner, his mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, front room or even just your headphones. Rather than staying too hung up on the past, he continues to serve up the freshest in Acid, Electro, Techno, Deep House alongside sweet slices of Electronica.
Sticking to the format of 4 superlative cuts from equally talented producers, the quality remains unquestionably consistent on Volume 8 of his various artist series. Kicking off A1 in style with a family affair from Acid House aficionado Affie Yusef and his daughter Leila, ‘Dublovr’ is a Class A slice of pure late night chug that rides clockwork rhythms to a rolling bassline. As dubbed out synths ring out to lift you skywards – eerie sweeping undertones add another dimension. Tried and tested since the summer season, the added layer of a TB-303 brings everything nicely to a head. Not to be outdone, Bristol based Electro emissary Zobol delivers a pure slice of machinist joy on A2 ‘Sense The Consesus’, showing his ability to finesse and balance uplifting melodies with warm synthesis on this finest of jams.
Over on the flipside, Maltese producer Acidulant takes up the reins with the hushed tones of ‘The View of Her Shade’ on B1 – a thoughtful excursion into electro hinterland that’s a textbook lesson in making more with less. Last but not least, mysterious I Love Acid affiliate Type-303 turns out an exquisite IDM inflected serving of woozy broken Electronica on the mysterious ‘Knowhere’. Steeped in rippling melodies and aquatic

Zum 10. Jubiläum erscheint am 21. Oktober das Album „good kid, m.A.A.d city“ von Kendrick Lamar erneut.

Das Album enthält Gastauftritte von Drake, Dr. Dre, Jay Rock, Anna Wise und MC Eiht und erzählt die Geschichte von Lamars Erfahrungen als Teenager in den drogenverseuchten Straßen und dem Bandenleben seiner Heimatstadt Compton. Das Album wurde 2014 für vier Grammys nominiert, darunter für das Album des Jahres. Zudem enthält „good kid, m.A.A.d city“ die erfolgreichen Singles ”The Recipe”, ”Swimming Pools (Drank)”, ”Backseat Freestyle”, ”Poetic Justice” und ”Bitch, Don’t Kill My Vibe”.

Das Album ist als 1CD und 2LP auf 180g gepresst erhältlich.

‘Blemish’ was David Sylvian’s first solo album to be released on his own Samadhisound label following his departure from Virgin Records in 2003. This is the first official release on 180gram vinyl. Working primarily as a solo artist, Sylvian created an impromptu suite of songs for guitar, electronics and voice. The compositions were crafted from improvisational sessions by Sylvian and the acclaimed free-jazz guitarist, Derek Bailey on 3 tracks. “A Fire In A Forest” features the haunting electronic arrangements by Austrian guitarist / producer Christian Fennesz.

Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.

After the creation of his own label and four EPs (Intuitive, Blend, Exil, Singles), here is Thylacine with a first album called Transsiberian, named after a recent trip to the other side of the world.

In the spring of 2015, William left for Russia with a video crew. The goal: to get carried away by the famous Trans-Siberian, which connects Moscow to Vladivostok, and stop at the option of fixed and impromptu meetings with local personalities. Time is divided between intense encounters and long train journeys where William locks himself in his cabin to compose. At the option of these stops which, over the days, nourish William's inspiration, he has the right to a concert offered as a welcome by the old ladies of the native village of the graffiti artist Artemiy, polyphonies in Irkutsk, a bell ringer of bells, a traditional musical trio in Kazan, surfers in Vladivostok. A shaman welcomes him in his yurt on the shores of Lake Baikal, with his two little daughters, Aikhai and Mandukhaï. All can be found on Transsiberian, a concept album that places the taste for travel and his curiosity about others at the heart of his contemplative songs. Evolving in the world of contemporary art, for which he composes regularly, William sees an album as a work where performance counts but also emotion and, above all, manner of doing things. "The process of creation matters as much as the end," he says.

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

Following the 2023 album Young Hearts, produced in collaboration with Kenny Beats, 22 Durnham Dew finds Benny Sings turning inward for his most personal album to date.

After decades of touring and recording, Benny has embraced a more grounded, family-focused lifestyle. 22 Durnham Dew was created with and about his immediate family, featuring contributions from both his wife and daughter. Across its songs, Benny reflects on fatherhood, family life, and the everyday moments of adulthood.

Long celebrated as one of the most distinctive voices in modern pop, Benny Sings continues to showcase the warmth, craftsmanship, and effortless charm that define his work.

The third album from Max McNown, Leave On A Light, reveals a rare artist whose breakout success has brought him even closer to his truest instincts. Amid an explosive ascent that solidified his status as one of his generation’s most compelling singer/songwriters, the Oregon native came to a deeper conviction in music’s power to honor what matters most, such as the people and values who anchor his life. Born from a year of extraordinary momentum—including completing his sold-out, continent-hopping headline tour—Leave On A Light ultimately finds McNown more grounded than ever in his artistic vision, arriving as the fullest expression yet of his singular songwriting voice.

A queer Black musician and daughter of Nigerian immigrants, Oladokun has become a vital cultural voice, writing songs that explore identity, faith, mental health, and social justice with honesty and restraint. Since her 2020 breakthrough, she has released two critically acclaimed albums, earned a finalist nod for Americana Artist of the Year, and saw her protest anthem "iseeamerica" named a finalist for the Recording Academy's Special Merit Award for Best Song for Social Change. Praised by The New York Times and Billboard for her ability to turn quiet introspectioninto lasting impact, Joy Oladokun has brought her music to national television on The Tonight Show Starring Jimmy Fallon, CBS Saturday Morning, and Austin City Limits, while her songs have been featured across major TV series. With collaborations spanning artists like Chris Stapleton, Brandi Carlile, and Maxo Kream, she is entering her next chapter by bringing an even broader, bolder sound to the table, continuing to prove herself as an artist who not only bends genre but bridges culture.

IMPRESS!VE Collective & BBE Music present: Terry Callier – Live Peace. There was no one quite like Terry Callier, and Live Peace captures the rare magic of his live performances in their most intimate and spiritual form. Recorded live in Leeds in the late 1990s and early 2000s at shows run by Lubi Jovanovich & Gip Dammone of The DIG! Family, this release documents an artist whose music transcended genre, era, and expectation, offering truth, compassion, and deep emotional connection rather than spectacle. Recorded live by renowned sound engineer Martin Dixon at The Yardbird Suite / The Underground in Leeds in 1998 and 2001), these performances feature Terry alongside his hand-picked ‘Family Band’; which included legendary guitarist Jim Mullen, Chris Kibble on keys and famed percussionist Bosco D’Oliveira. Painstakingly restored from the only surviving source using modern AI-assisted audio tools, the aim was never to polish away the grain, but to let Terry’s voice, message, and band shine once more. Sparse, soulful, and profoundly human, the recordings preserve the immediacy of nights where packed rooms fell into pin-drop silence, hanging on every word and note. From the aching beauty of “What Colour Is Love” to the cinematic power of “Lazarus Man,” this album reminds us what a master storyteller and spiritual presence Terry Callier was. Live Peace stands as a powerful reminder of why Terry Callier remains one of music’s most revered and influential voices, whose songs of love, justice, and humanity resonate as strongly now as ever. This project is fully endorsed by Terry's daughter Sunny Callier - and the cover photo and sleeve images are all suitably also previously unseen visual treasures.

Of course everyone knows Kurt Hauenstein aka Supermax. He was one of the few Austrians to shape the sound of late 1970s disco, performing and selling records around the world. Not many know his daughters Judy and Nicola, however, and the fact that they in 1987 wrote a song that they recorded together with their father. Well, here it is: Cracy Coconuts, “Rubberdub Dance” a true Hauenstein family affair. We are proud to re release this super rare 7” that proves, once and for all, that Austrians can excel at digi dub. Timelessly tropical and beautifully bouncy, its vibe is quite different from the iconic Supermax productions. Here, Judy and Nicola’s sweet yet confident vocals replace the moustache driven sotto voce singing that we love Supermax for. The result is oh so catchy and bound to be a hit.

Critical Thot ist das kraftvolle neue Kollaborationsalbum der in der Bay Area ansässigen Rapperin und Produzentin Sha Ray sowie der Produzentin und Elektronikmusikerin DJ Haram - zwei kompromisslose Künstlerinnen, die Rap und experimentellen Sound neu definieren. Es ist eine spannende Kombination: Haram ist die eine Hälfte des Duos 700 Bliss zusammen mit der Rapperin und Poetin Moor Mother und hat zudem mehrere Soloalben veröffentlicht - darunter Beside Myself (Hyperdub, 2025), das von der Kritik gefeiert wurde - sowie hochkarätige Kollaborationen mit BbyMutha, Fever Ray, Ghais Guevara und Armand Hammer.Währenddessen handelt es sich bei Critical Thot zwar um Sha Rays offizielles Debütalbum, doch ihr Ruf als aufstrebendes Talent der nächsten Generation eilte ihr bereits voraus. DJ Haram wurde 2022 auf sie aufmerksam, als sie Sha Ray bei einem Auftritt in Brooklyn sah: ,Wir haben uns vor Ort unterhalten, und danach habe ich ihr auf Social Media gefolgt. Sie hat eine unglaubliche Performance abgeliefert, also war ich sofort dabei, als sie mir später eine Nachricht geschrieben und nach Beats gefragt hat", erklärt Haram.Ein Armand Hammer/DJ Haram-Konzert in Los Angeles wurde schließlich zum entscheidenden Moment, an dem sich diese Verbindungen konkretisierten. Sha Ray reiste aus der Bay Area an, um sich mit Haram zu treffen. Auch wenn an diesem Tag noch keine Aufnahmen entstanden, bildete er den Ausgangspunkt für die spätere Zusammenarbeit über große Distanz hinweg, die in Critical Thot mündete. Das gesamte Album entstand remote: Haram produzierte Beats in Brooklyn und schickte sie an Sha Ray, die ihrerseits Demos und Anmerkungen zurücksandte. Während der Arbeit an diesem Projekt lernten sie sich sowohl künstlerisch als auch persönlich besser kennen.,Haram und ich haben viele ähnliche Erfahrungen als Frauen in der Musikindustrie gemacht, was unsere Verbindung enorm gestärkt hat. Außerdem hat mich ihr markanter Produktionsstil stark beim Schreiben dieses Albums inspiriert", sagt Sha Ray.Diese Texte sind messerscharf und erfrischend direkt. Sha Ray beweist schnell, dass sie in ihrer eigenen Liga spielt und selbst die komplexesten Produktionen von DJ Haram mühelos meistert, ohne an Energie zu verlieren. Haram schöpft aus dem Vollen und bewegt sich mit ihren Beats zwischen experimentell-abrasiven Sounds, geschmeidiger Leichtigkeit und dunkel bedrohlicher Atmosphäre. Perkussive Einschläge und Schüsse werden mit feinen Details und weichen Klangflächen kombiniert. Ein traplastiger Banger löst sich plötzlich in einem Strom aus Streichern auf, während eine minimale industrielle Klanglandschaft sich langsam zu einer wuchtigen, kakophonischen Rap-Attacke steigert. Sha Ray navigiert sich souverän und trotzig durch jede Drumstruktur und jeden Synthesizer.,Als Rapperin interessiere ich mich fast ausschließlich dafür, Misogynie und Sexualität in meiner Arbeit zu hinterfragen. Critical Thot ist eine Auseinandersetzung mit unapologetischer weiblicher Autorität und gleichzeitig eine ehrliche Reflexion darüber, wie komplex es ist, an Selbstobjektifizierung teilzuhaben und Sexualität als soziale Währung zu begreifen", erläutert Sha Ray. ,Auf diesem Album geht es stark darum, Macht in weiblicher Sexualität als etwas Relationales und ständig Wandelndes zu definieren - und damit als grundsätzlich unvollkommen. Aber es ist eine Macht, die ich habe, und ich werde sie nutzen."Critical Thot enthält Beiträge von Nappy Nina, JWords und Archangel.

Critical Thot ist das kraftvolle neue Kollaborationsalbum der in der Bay Area ansässigen Rapperin und Produzentin Sha Ray sowie der Produzentin und Elektronikmusikerin DJ Haram - zwei kompromisslose Künstlerinnen, die Rap und experimentellen Sound neu definieren. Es ist eine spannende Kombination: Haram ist die eine Hälfte des Duos 700 Bliss zusammen mit der Rapperin und Poetin Moor Mother und hat zudem mehrere Soloalben veröffentlicht - darunter Beside Myself (Hyperdub, 2025), das von der Kritik gefeiert wurde - sowie hochkarätige Kollaborationen mit BbyMutha, Fever Ray, Ghais Guevara und Armand Hammer.Währenddessen handelt es sich bei Critical Thot zwar um Sha Rays offizielles Debütalbum, doch ihr Ruf als aufstrebendes Talent der nächsten Generation eilte ihr bereits voraus. DJ Haram wurde 2022 auf sie aufmerksam, als sie Sha Ray bei einem Auftritt in Brooklyn sah: ,Wir haben uns vor Ort unterhalten, und danach habe ich ihr auf Social Media gefolgt. Sie hat eine unglaubliche Performance abgeliefert, also war ich sofort dabei, als sie mir später eine Nachricht geschrieben und nach Beats gefragt hat", erklärt Haram.Ein Armand Hammer/DJ Haram-Konzert in Los Angeles wurde schließlich zum entscheidenden Moment, an dem sich diese Verbindungen konkretisierten. Sha Ray reiste aus der Bay Area an, um sich mit Haram zu treffen. Auch wenn an diesem Tag noch keine Aufnahmen entstanden, bildete er den Ausgangspunkt für die spätere Zusammenarbeit über große Distanz hinweg, die in Critical Thot mündete. Das gesamte Album entstand remote: Haram produzierte Beats in Brooklyn und schickte sie an Sha Ray, die ihrerseits Demos und Anmerkungen zurücksandte. Während der Arbeit an diesem Projekt lernten sie sich sowohl künstlerisch als auch persönlich besser kennen.,Haram und ich haben viele ähnliche Erfahrungen als Frauen in der Musikindustrie gemacht, was unsere Verbindung enorm gestärkt hat. Außerdem hat mich ihr markanter Produktionsstil stark beim Schreiben dieses Albums inspiriert", sagt Sha Ray.Diese Texte sind messerscharf und erfrischend direkt. Sha Ray beweist schnell, dass sie in ihrer eigenen Liga spielt und selbst die komplexesten Produktionen von DJ Haram mühelos meistert, ohne an Energie zu verlieren. Haram schöpft aus dem Vollen und bewegt sich mit ihren Beats zwischen experimentell-abrasiven Sounds, geschmeidiger Leichtigkeit und dunkel bedrohlicher Atmosphäre. Perkussive Einschläge und Schüsse werden mit feinen Details und weichen Klangflächen kombiniert. Ein traplastiger Banger löst sich plötzlich in einem Strom aus Streichern auf, während eine minimale industrielle Klanglandschaft sich langsam zu einer wuchtigen, kakophonischen Rap-Attacke steigert. Sha Ray navigiert sich souverän und trotzig durch jede Drumstruktur und jeden Synthesizer.,Als Rapperin interessiere ich mich fast ausschließlich dafür, Misogynie und Sexualität in meiner Arbeit zu hinterfragen. Critical Thot ist eine Auseinandersetzung mit unapologetischer weiblicher Autorität und gleichzeitig eine ehrliche Reflexion darüber, wie komplex es ist, an Selbstobjektifizierung teilzuhaben und Sexualität als soziale Währung zu begreifen", erläutert Sha Ray. ,Auf diesem Album geht es stark darum, Macht in weiblicher Sexualität als etwas Relationales und ständig Wandelndes zu definieren - und damit als grundsätzlich unvollkommen. Aber es ist eine Macht, die ich habe, und ich werde sie nutzen."Critical Thot enthält Beiträge von Nappy Nina, JWords und Archangel.