Buscar:universal power

Axis of Time is the stunning debut album from Philadelphia mallet percussionist and poet Angelo Outlaw. Featuring Eraserhood Sound's signature synth & soul production, Axis of Time is a dazzling blend of jazz, rare groove, funk, soul and r&b. According to Outlaw, the album is meant to transport the listener to a dream-like state, where space and time slowly fade away and reality is merely a distant memory. Each song sets a unique scene, as the pace of the music swells and sways_from the euphoric highs of lead single "Free My Mind" and uninhibited groove of "Speed of Light" to the trance-like meditation of "Dreams" and mournful melodies of "Invisible Clock," Angelo and the Eraserhood Sound house band truly go to the cosmos and back. The record is an extraordinary debut from Outlaw, a young gay Black man who hopes to serve as an inspiration to others who might be perceived as different or other. His work transcends race, creed, religion, and politics, and has the power to speak to the universality of time, space, and human connection.

Stunning outernational funk for the psych breaks dancefloor featuring the mesmerizing vocals of Ukrainian jazz singer Mona. Sung in her mother language, "Moya Vode" is about the "ancient ritual to put a spell on water and remove all negativity through its power".

Mona and MC Fame, a well-known Ukrainian hiphop producer and activist, both left their hometown Kyiv last year and found a new home in the Hammerbrook district of Hamburg, Germany, where they quickly connected with the lively funk scene of the city. Together with the Mocambo crew they set off to work out some magic by combining universal funk grooves and Ukrainian folklore.

Mona's mystical soulful vocals are backed by the "Hammerbrook Sound Machine", a group featuring members of Bacao Rhythm & Steel Band and the Mighty Mocambos, with instruments like the Tsymbaly or Drymba added on top. The "folk-funk" continues more electronically on the instrumental flip side when MC Fame takes over the lead on Moog synthesizer. Dive into this spell!

DJ Support: Richard Dorfmeister, Luke Una, Chris Coco, Phil Mison, Mickey Brown, Erki Pruul, Marco

The sweeping poem ‘Cofio’ by the great Welsh poet Waldo Williams has inspired a remarkable collaboration between Ibiza-based record label NuNorthern Soul, Welsh DJ, performer and cultural commentator Gareth Potter, composer and musician Joan Bibiloni, poet and actor Pep Tosar Vaquer, actor Rhys Ifans and musician James Baron aka JIM / Ron Basejam.

1st March is St Davids Day and Balearic Day. St David’s Day honours the death of the patron saint of Wales and the Day of the Balearic Islands the day when islands Ibiza, Mallorca and Menorca became an autonomous region of Spain.

Cofio Recorda Remembrance is made up of two powerful and haunting tracks drenched in NuNorthern Soul’s unique take on the globally popular Balearic Chillout style. Un Adéu features music by Joan remixed by James Baron with Pep reading the poem in Catalan and Spanish. Badia Onírica is a tremendously atmospheric reading of ‘Cofia’ in Welsh and English by Rhys with music again arranged by James.

It connects Wales and Ibiza but, on a more universal level, Cofio Recorda Remembrance links the fundamental aspects of human existence, of, as Waldo Williams puts it ‘earth’s innumerable generations’.

a A1: 'Badia Onírica' Welsh Version
b A2: 'Badia Onírica' [English Version]
[c] A3: 'Un Adéu' [Instrumental Version]
[d] B1: 'Un Adéu' [Catalan Version]
[e] B2: 'Un Adéu' [Spanish Version]
[Instrumental Version]

Burning Bug Records presents the new 7-inch reggae single, Universal Love, a collaboration between the established English producer Lewis Bennett and the iconic Jamaican vocal group, The Viceroys.

Universal Love is a captivating fusion of old-school Roots Reggae and modern Dub music, and is a testament to the enduring power of Reggae music to unite people through its positive message.

Bennett brings a wealth of experience to the single, infusing the track with his signature Spanish Flamenco guitar techniques, adding a unique and vibrant flavour to the traditional Reggae sound.

The Viceroys, who are from the heart of Jamaica and regarded as veterans in the Reggae scene, lend their authentic and soulful vocals to the collaboration, adding an extra layer of authenticity and nostalgia to the single.

Universal Love is a song which transcends boundaries, celebrating the roots of Reggae while embracing the evolution of the genre in the modern age.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

The theme of the Album, titled "Echoes from the Universe",is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one's own individual life path trough will power. The "Concept Album" is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance. The Artwork, interpreted by the artist "Django Nokes", reflects the Concept perfectly. Echoes from the Universe is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.

The theme of the Album, titled "Echoes from the Universe",is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one's own individual life path trough will power. The "Concept Album" is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance. The Artwork, interpreted by the artist "Django Nokes", reflects the Concept perfectly. Echoes from the Universe is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.

With "Onaida", Natascha Rogers shares a liberating folk spell that draws inspirations from Yoruba spirits, Afro-Latin rhythms and her Native American ancestry. Born in the Netherlands to a Dutch mother and a father with Amerindian origins, Natascha Rogers dares to be intimate and unveils a highly spiritual chiaroscuro record, raising purity, care and reconciliation to the level of the art, through folk enchantments. Sensitive to the ancestral call of the drums, she travelled the Black Atlantic for several years and received the teachings of the greatest Mandingo and Afro-Cuban master percussionists. As a distinguished percussionist and vocalist, she has graced the stage and has accompanied artists around the world, but for Onaida she set out on her own, retreating to a studio to escape the noise, rush and fast information cycles of our modern world. This album marks a rebirth for Natascha Rogers, as it symbolizes her return to the piano, her first instrument. Channelling these inspirations for Onaida, Natascha Rogers, has created a space of her own, where themes of humanity, spirituality, nature and womanhood are centre stage while also paying tribute to her ancestors. Sung in English, Spanish, or Yoruba, the album is a tapestry of intimate ballads and universal prayers, drawing inspiration from dreams, Amerindian poetry (Joy Harjo), and Cuban santería with ritualistic batá drum pulsations. On the powerful folk-tinged song "The West", she invited gifted singer-songwriter Piers Faccini. Onaida is a true initiatory experience, a second birth for Natascha Rogers who finds balance and accuracy with this singular opus. Natascha Rogers headed to the quiet commune of Pommerit-le-Vicomte, to write this new release, accompanied by sound engineer Joachim Olaya and published on acclaimed French imprint No Format!

Mondo, in partnership with Universal Pictures, are proud to present the premiere physical release of the stunning and deeply emotional soundtrack to Christopher Nolan’s epic Oppenheimer.

Oppenheimer is the IMAX-shot epic from the mind of acclaimed director and writer, Christopher Nolan. Based on the Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, the film tells the story of the enigmatic man who led the Manhattan Project and helped create the first nuclear weapons.

Composed by Ludwig Göransson

Following the success of Eric B & Rakim covers on 45, touching Hip Hop and rare groove fans, Medline explores new horizons. Well known to be free from styles boundaries, the French Chilean multi - instrumentalist unveil a two side Afro Funk killer.

Marked with the "universal power" title on the label, third 7 inch on My Bags catalog, this new 45 shows Medline's abilities to produce high quality music in a wide range of styles. The compositions are produced with a brilliant contrast. The uptempo "Run For Cover" is a huge Afro beat runner with a hardcore feeling while "Azul", is a heavy downtempo soul funk anthem, and shines like a massive solar energy boost.

Medline brings back the 70's West African sound signature, carried by a hot drum and bass couple, leaded by the Farfisa organ and harmonized with a powerful brass section. The rhythm is wild, mastered by dynamical arrangements when the breaks are hitting loudly around. And yes as always Medline is the ONE playing all.

The artistic fate offered beautiful colors and forms to the music. Clément Laurentin's elegant painting "Run For Cover" reminding Bob Marley and Lee Perry's records, baptized the first composition which includes a "Jamaican" surprise. "Azul" (Blue in Spanish) is the main color of Clément's creation which remind the look of the famous azulejos. The link happens without any previous consultation, all was here to be done this way, connecting cultural areas and eras. To end, the acrylic painting on linen canvas is the perfect organic mirror to this new 7 inch.

My Bags is happy to offer this "tratra" (Ivorian pancake), designed with all the elements of a ready to dig holy grail, Soul inspired, Afro beat to the core.

The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighbourhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. "Power-Fuerza" is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the

raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers’ “Power-Fuerza”, one of the best Latin funk albums ever recorded…

MRG223LP is black vinyl in a jacket + printed sleeve + printed insert for full album download. File Under: Alternative. In 2003, everything broke open for Ward with the release of Transfiguration of Vincent. Critically lauded and long beloved, Pitchfork hailed it as an album that “broadcasts timelessness and defies genre constraints,” and Slant placed it on their list of the best albums of the 2000s.

On Transfiguration of Vincent, Ward’s elegant fingerpicking, evocative croon, and heartrending lyricism came into full bloom, casting a spell so powerful that even a song as universal as David Bowie’s “Let’s Dance” felt not only new but irrevocably his.

One of the most cherished albums in the Merge catalog, Transfiguration of Vin- cent is both a great place to begin your love affair with M. Ward and a deep, stunningly realized work that listeners have returned to over and over again for 20 years. Tracklisting: SIDE A. 1 Transfiguration No. 1 2. Vincent O’Brien 3. Sad, Sad Song 4. Undertaker 5. Duet for Guitars No. 3 6. Outta My Head 7. Involuntary. SIDE B. 8. Helicopter 9. Poor Boy, Minor Key 10. Fool Says 11. Get to the Table on Time 12. A Voice at the End of the Line 13. Dead Man 14. Let’s Dance 15. Transfiguration No. 2

Formed in 2017, Flycatcher’s ability to construct sing-a-long melodies and gut-punching instrumentation, while also tackling the dissonance of depression and difficult relationships, proves their power in casting an empathetic, universal eye.

The New Jersey-based quartet, made up of Greg Pease, Justin VanNiekerk (guitar), Jack Delle Cava (bass) and Connor Carmelengo (drums), are known for their undeniably anthemic arrangements. Albums Other Things (2018) and Songs for Strangers (2019) garnered acclaim for their ear-worm choruses, tight textural dynamics and propulsive, driving percussion.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

“The Hype” is an expansive pop anthem that shows us everything we have come to love about the pop sensation, with gritty lyricism and melodies that don’t have an endpoint and keep rising.

Asking the question: did I live up to the hype? Sigrid finds a universal feeling encapsulating revelations on career and relationship successes.

This quick-witted power anthem is both tongue-in-cheek and blunt, a full circle moment from Don’t Kill My Vibe, which was the beginning of Sigrid's Hype. , Sigrid remains one of the most understated pop stars, wearing T-shirt and jeans to play live on stage, picking practicality over what is expected of young female artists in the music industry.

Staying true to herself, the visuals for “The Hype” are reminiscent of Sigrid’s debut EP; with no props to lean on and no grandiose concepts, just Sigrid, honest and raw.

With two top 5 critically acclaimed albums under her belt, 2019’s Sucker Punch and 2022’s How To Let Go, arena shows in both London and Ireland, global world tours from Japan to LA and festival performances from Glastonbury to her first UK festival headline at Belladrum in Scotland, Sigrid has become one of the leading live pop acts of her generation

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

Cultural power house Jazz Montez is back with the second edition of its compilation series "Jazz Montez Presents". The album comprises nine tracks by artists from around the world: Àbáse, Bokoya, Debmaster, FloFilz, J.Lamotta, Karaba, King Owusu, Liraz, MC Yallah, The New Love Experience, Wolf Müller & Niklas Wandt and Zeitgeist Freedom Energy Exchange. Inspired by the tradition of jazz, they collectively channel the power of music to transcend all borders and push the boundaries of pre-conceived genres. Each track was recorded in the analogue sanctuary Lotte Lindenberg in Frankfurt, Germany, mixed by D&B legend Kabuki and mastered by renowned producer and audio technician Wolfgang Gottlieb. The vinyl cover was designed by artist Clara Sipf and includes a booklet featuring texts by all participating artists as well as a picture story on music as a universal connecting force.

Straight Outta Caledonia is the first commercially available “Greatest Hits” of the outsider songwriter Jackie Leven, an artist
who has largely remained in obscurity in his native Scotland despite being one of the greatest wordsmiths – and singers – it ever
produced. A well-travelled musician who began making psychedelic, progressive music in the late 60s before emerging as an
epic storyteller full of pathos, humour and humanity in the 90s, Leven lived and wrote like many of the fragile, gregarious
characters of his songs; large, full of life and empathy. Leven passed away in 2011 after recording 30+ albums under different
guises or with his briefly successful New Wave band Doll by Doll. Straight Outta Caledonia is a compilation collated by Night
School Records on its Archival label School Daze that seeks to introduce Leven’s music to new generations.
In an age of isolation, alienation and loss of visceral experience, Jackie Leven’s music can be massive and welcoming. It feels
connected to some universal humanity and vibrates with vitality. His songs are often full of tragedy and comedy simultaneously,
cutting straight to the heart, often plugging directly into the nervous system of the listener. His lyrics are rich, dense with imagery
that can veer from apocalyptic to the comically banal in a sentence, with a songwriting panache that can be heavy handed to
almost bursting point before skewering the song with a clownish, warm punchline. His productions ranged from Bob Dylan’s
Rolling Thunder Revue style rock band orchestrations with strings and organ as on the epic Ancient Misty Morning or they could
be pared down to the purest form of folk song as on Poortoun: Leven on stage alone with an acoustic guitar, albeit played with a
mastery of the instrument that he often only hinted at. Musically his sound can bend traditional structures or stay completely
confined within them yet still forever push towards an ecstatic release, as on the cinematic Snow In Central Park.
The most exciting, jaw-droppingly effective tool at Leven’s disposal was his voice. A multi-octave instrument that, though
damaged during a savage assault in Fife, he used with flair; he had both a brazen disregard for the rules and a deep humility, all
of which is evidenced with every phrasing. A baritone that could flit up through the register – always touched by his gentle
Kirkcaldy accent – it’s the prime delivery method for his songs. Leven’s voice enabled him to inhabit the characters in his songs to
an uncanny degree, a skill that in turn enables the listener to empathise with them and, subsequently, the singer. It’s most evident
in stand out song The Sexual Loneliness Of Jesus Christ, a breathtaking re-telling of the life of its protagonist, not as a pure,
sinless messiah but as a sexually frustrated, solitary man condemned to an existential loneliness no one else will ever feel. In
many ways the track is the archetypal Jackie Leven song. Produced by Pere Ubu’s David Thomas, what strikes the ear first –
after the samples of unemployed workers in Glasgow following the closing of the Clyde shipyards – is the audacious, rhythmic
tremolo effect Leven employs through the verses before the production opens up to allow Leven’s vocal to lift into a soar, a
freeing glide powered both by the force of the singer’s chutzpah and the inherent, doomed destiny of the protagonist. With any
other singer such subject matter could come across as gauche or worse, pretentiously sonorous, but Jackie Leven’s genius was
such that he could be this cinematic and brazen while touching something elemental and true in the beholder. It’s a skill evident in
every song on Straight Outta Caledonia, the trademark of a songwriter who revelled and excelled in intensity with a lightness of
touch.
In his lifetime, Jackie Leven toured, wrote and recorded at a ferocious rate. He recorded under aliases to avoid record contract
restrictions, played house shows in Europe after or instead of official concerts, events which were often spoken word story telling
masterclasses as well as performances of his often bewilderingly dense songbook. His music has traditionally been catalogued
as “folk” music and has been largely banished to a small, dedicated group of international fans and apostles both private and well
known, like author Ian Rankin or Glenn Matlock. Since his passing in 2011 however, there has been a growing recognition
amongst a newer generation, with artists like James Yorkston or Molly Nilsson publicly stating the influence of the unsung
troubadour on their own craft. Jackie Leven’s fairytales for hard men are often forensic deconstructions of masculinity, sad and
ecstatic, light and shadow, always endlessly rich, a resource as bountiful as Leven himself’s human spirit undoubtedly was.

The rising Tamil-Swiss artist Priya Ragu is set to release her long-awaited debut album ‘SANTHOSAM’ on October 20th.



‘SANTHOSAM’ (the Tamil word for ‘happiness’) is a standout dynamic album which takes her raguwavy sound – simmering R&B, masterful pop hooks, earthy soulful vocals, dance beats, and the warm tabla rhythms, and spiralling melodics of Tamil music – to even more adventurous heights. Defined by Priya’s contagiously positive spirit, it pulsates with gorgeously varied musical textures and urgent political themes. Once again crafted in collaboration with her brother and producer Japhna Gold, it’s an album that originates from Priya’s quest for self-discovery.



‘SANTHOSAM’ opens with ‘Ammama’s Note’, which features a voice recording in which Priya’s grandmothers is questioning why she isn’t married. Like many young South Asian women, Priya felt like she wanted to achieve much more before she settled down, regardless of other people’s preconceptions of what direction her life should take. That ability to write one’s own destiny continues the euphoric ‘School Me Like That’, set to a rumbling tambla beat and breezy synths. More universal issues are explored in the blazing anger of ‘Black Goose’, which was written in the wake of the murder of George Floyd and the Black Lives Matter protests, and ‘Let Me Breathe (Reprise)’, a spiritual call for freedom, emancipation, and peace.



Elsewhere, the record brims with highlight-after-highlight, taking in everything from the dancefloor disco energy of ‘One Way Ticket’ to ‘Power’ which features a rousing string arrangement that was written by Indian composer Bala and recorded with an orchestra in Budapest. It closes with ‘Mani Osai’, a song which continues a yearly family tradition in which Priya, Japhna and their father write a song together. Never intended to be a Priya Ragu track, it nonetheless felt like the perfect way to close the album – especially as the concluding “santhosam” chant conveys the meaning of the word with life-affirming zest.

Across the arc of Tristan Allen’s epiphanic, four part journey, Tin Iso and the Dawn, the New York based composer and puppeteer brings sonic life to a fantastical realm of characters whose universal longings mirror our own. In the first release of this mythic trilogy, intricate sound design and spellbinding leitmotifs make sense of loss and what’s beyond.

Formative exposures by way of travel through Asia, studies in Gamelan, a paper mache Christmas angel, and their dad’s Bread and Puppet Theater artifacts formed a web of inspiration from which Tristan’s desire to combine puppetry and their fascination for the narrative power of instrumental music emerged. Years of synchronistic inspirational encounters with “guardian angels” in the form of music mentors and puppeteer masters incentivized Tristan to pursue a project where they could focus on sound and diverse instrumentation.

Through this impulse, Tristan ceremoniously constructed the imaginary world of Tin Iso and the Dawn, loosely based on Wagner’s three act opera Tristan und Isolde. Composed and recorded between 2015 and 2022 across apartments from Boston to Brooklyn, with field recordings from locations of vivid sentiment: Upstate New York—where Tristan grew up, Quebec—where most of their close family lives, and Japan—where they lived briefly as a child, each moment of Tin Iso glimmers with nostalgic immediacy and the prescience of new voyages unfolding.

As the legendary Art Ensemble of Chicago celebrates its 50th anniversary, Soul Jazz Records are releasing a new fully re-mastered edition of the group's seminal album 'Les Stances à Sophie' (1970), which features the great singer Fontella Bass on the opening track 'Theme de Yoyo', a stunning 9-min opus that continues to startle and compel new audiences today.
Drawing upon the mutual soul and funk background of Bass and her then husband Lester Bowie with all the power of the Art Ensemble of Chicago's collective musicianship on board, 'Theme de Yoyo' is powerfully funky, soulful and free at the same time, a classic fusion of black music styles.

For this new project, Rakoon is moving towards a warm, fully-fledged electro sound. "The Ones We Love" is an ode to those we love, to those we have loved, to the way encounters, sublime moments but also wounds, shape us.

The EP opens with the electronic ballad 'Carry Me', whose intoxicating synths remind us of those who have accompanied us, with whom we have moved forward and overcome trials. It's a nostalgic escape, with a vocal sample adding a touch of melancholy. As usual with Rakoon, hope is never far away on the danceable 'Moving Strangers', an energetic, enigmatic track where glitchy vocals intertwine with unstructured synths to give us that feeling of osmosis that arises in a crowd, when you share powerful moments with strangers. We continue the artist's electronic journey with "Always", whose analogue synths contrast with the depth of the vocals, revealing something unchanging in this journey. The radiant 'Memories' brings 'The Ones We Love' to a fitting close, in a hit built like a guitar-driven song, but made for the dancefloor. It's a track as unforgettable as the memories of the shared moments that make us who we are today.

On this universally intimate EP, the French producer conveys his feelings, but also his optimism. It's all about Rakoon and the emotions you feel when you listen to him: the desire to move forward together, to dance together bound by a transcendent force. An introspective journey full of honesty that we want to share, carried by its inspiring and intoxicating melodies. A journey of hopes and encounters that we want to continue to travel with him.

DJ 3000, Presents 'Mezë EP’ – A Fusion of Music, Culture, and Life

Franki Juncaj, globally recognized as DJ 3000, is set to launch his fifth album, 'Mezë.' This release marks the culmination of an extraordinary artistic journey, inviting everyone to revel in the beauty of music, culture, and life while breaking down boundaries and uniting people through its masterfully crafted tracks.

Renowned for his ability to infuse Detroit's musical vibrancy with his Albanian heritage, DJ 3000 embarks on a fearless exploration of his roots. 'Mezë EP' harnesses the power of food as a metaphorical "glue" that harmoniously binds the realms of life and music.

The title track, 'Mezë,' transcends mere genre classification; it is an artistic masterpiece that captures the heart-pounding communal essence of a party while reflecting the vibrancy of sharing a meal together. 'Humble Quest' delves into the depths of Detroit's musical heritage, while 'Tanbur' is a global celebration, gracefully incorporating ethnic stringed instrument samples that ride atop a steady drumbeat. 'Snake Eyes' ventures into the realms of Electro, underscoring Franki's mastery across diverse electronic dance music genres.

'Mezë EP’ is a testament to the power of music, culture, and the universal joy of life. Join DJ 3000 on this extraordinary journey, where boundaries disappear, and we are brought together through music, food, and family.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Mit der ersten Single „vampire“ läutete die dreifache GRAMMY Gewinnerin Olivia Rodrigo das zweite Kapitel ihrer Karriere ein – und nimmt ab sofort Kurs aufs zweite Album: GUTS erscheint am 08. September!

Emotional noch intensiver und extrem abwechslungsreich arrangiert, setzt die 20-Jährige für „vampire“ auf eine ähnliche Dynamik wie bei ihrer Single „drivers license“, mit der sie 2021 den internationalen Durchbruch schaffte. Kein Wunder also, dass „vampire“ sofort als „Monster Power Ballad“ (Pitchfork) gefeiert wurde. Zeitgleich kündigte Olivia Rodrigo mit GUTS ihr zweites Album an. Zum Teil auch in den New Yorker Electric Lady Studios geschrieben, entstand das neue Album größtenteils mit Dan Nigro in dessen Garagenstudio in Los Angeles, mit dem die 20-Jährige bereits für ihr Debütalbum SOUR zusammengearbeitet hatte. Während Olivia in den vergangenen 24 Monaten selbst „gefühlt 10 Jahre“ reifer geworden sei, klingt auch ihr Songwriting sehr viel ausgereifter und selbstbewusster als zuvor: „Dieses Mal ging’s viel mehr ums eigentliche Songwriting – was manchmal auch bedeutete, dass ich mich selbst gar nicht so ernst nehmen durfte. Wir haben wahnsinnig viel ausprobiert und sind schließlich bei einem Sound gelandet, der viel mehr Rockeinflüsse hat als meine älteren Sachen“, so Rodrigo. ”GUTS” erscheint auf CD und Vinyl in diversen Formaten.

Mit der ersten Single „vampire“ läutete die dreifache GRAMMY Gewinnerin Olivia Rodrigo das zweite Kapitel ihrer Karriere ein – und nimmt ab sofort Kurs aufs zweite Album: GUTS erscheint am 08. September!

Emotional noch intensiver und extrem abwechslungsreich arrangiert, setzt die 20-Jährige für „vampire“ auf eine ähnliche Dynamik wie bei ihrer Single „drivers license“, mit der sie 2021 den internationalen Durchbruch schaffte. Kein Wunder also, dass „vampire“ sofort als „Monster Power Ballad“ (Pitchfork) gefeiert wurde. Zeitgleich kündigte Olivia Rodrigo mit GUTS ihr zweites Album an. Zum Teil auch in den New Yorker Electric Lady Studios geschrieben, entstand das neue Album größtenteils mit Dan Nigro in dessen Garagenstudio in Los Angeles, mit dem die 20-Jährige bereits für ihr Debütalbum SOUR zusammengearbeitet hatte. Während Olivia in den vergangenen 24 Monaten selbst „gefühlt 10 Jahre“ reifer geworden sei, klingt auch ihr Songwriting sehr viel ausgereifter und selbstbewusster als zuvor: „Dieses Mal ging’s viel mehr ums eigentliche Songwriting – was manchmal auch bedeutete, dass ich mich selbst gar nicht so ernst nehmen durfte. Wir haben wahnsinnig viel ausprobiert und sind schließlich bei einem Sound gelandet, der viel mehr Rockeinflüsse hat als meine älteren Sachen“, so Rodrigo. ”GUTS” erscheint auf CD und Vinyl in diversen Formaten.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Coke Bottle Clear Vinyl. High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Close your eyes and merge into Benedikt Frey’s 'Fastlane'. Imagine sitting in the driver’s seat of a an automobile, one with exceptional horsepower and torque, as you stare out the windshield at the red light, warping in fata-morgana a mile down the road. It’s a straight-away, a black top with two lanes, and against your better judgment you decide to floor the gas. No hesitation in your muscle, your ankle or the ball of your foot, which you now realize is some kind of universal pivot, the first point of contact fusing your body with the will of machine. In this moment you’re in awe that you, a human, an animal, grew from pond scum into something so advanced as to engineer this thing, a mechanical beast capable of overwhelming power and exhilaration. But you also feel a seductive dread, an outside force diverting you from caution toward a dangling carrot of curiosity, asking yourself, ‘How far can I take this thing?’ The dread, now a constant, is numbed, equalized by an adverse intoxicating gratification. You feel both sensations in real time, however, rather than take responsibility for yourself, friends, family and innocent bystanders, you cement your foot to the floor and lean your head back. Noise around you fades to mute. Smell the benzene-scented air, feel the wind on your face, the menacing vibration of the vessel you control beneath you and every grain of asphalt under its tires. This mile has now lasted an eternity and you’ve left your body for some objective view, as if watching climax of a film. Past the point of no return, you embrace abandon and lean into fate. The film becomes slow motion, a crawling pace so mesmerizing you convince yourself of an option to eject yourself from this madness, but as you finally let go of your last morsel of fear, you run the red light head-on into the nucleus of a fantastic glistening sculpture of torn metal, glass, oil, broken dreams and heartache. 'Fastlane' may be just drum machines and synthesizers if you’re timid, but listen harder and know the catastrophic reality of existence, a wreckage so gruesome we dare not rubberneck, but afterall it is our nature to stare.

Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.

A start-to-finish cycle that documents a lover's pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bard's career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains it's a work of fiction, but it's evident close-vested autobiographical premise is what helps make it universal: It's the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of love's darker sides and the consequences of what happens when dreams unravel.

As part of its Bob Dylan catalogue restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LP at RTI. The end result is the very finest, most transparent analogue edition of Blood on the Tracks ever produced – and the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.

For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogues, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylan's songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honour, poignancy, and fairness – all traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blame – instil the record with equilibrium on par with the consistency of the flowing melodies.

Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colours, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Brown's flexible albeit subtle bass, Buddy Cage's country-streaked pedal-steel guitar, and Paul Griffin's soul-baring organ – an instrument used to shadow, tuck-point, and illuminate here as effectively as any time in rock history – Dylan pours soulful emotion, open his veins, and bleeds.

Ranked 16 on Rolling Stone's list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,

Given the sonic and artistic merit of this album, we anticipate huge demand.

New York, NY (May 09, 2023) - Techno powerhouse, Charlotte de Witte releases her highly anticipated EP, Overdrive as the anchor to her larger Overdrive Campaign within the KNTXT Label. Following de Witte’s breakthrough to the top of the electronic music scene in 2019 with her signature sonic approach that refuses to be boxed in, Overdrive is a reflection of this ethos. The EP aims to showcase street style that is both rough and energizing, while delivering high-energy tracks meant to pull listeners into the fast-paced thrill that unlocks one's turbocharged version of themselves. Listen HERE.

“While making Overdrive, I didn’t fully realize how applicable the lyrics are to my philosophy of life,” said de Witte. “The fast-paced tempo, which goes full force without looking back, is all about the feeling of being on the edge and living life to the fullest.”

Best known for her “dark and stripped-back” brand of techno and underground music, DJ, record producer, and label head de Witte pushes the boundaries of the electronic genre with music that has a distinct and unforgettable sound that is uniquely her own. De Witte’s innovative ability allows her to seamlessly blend genres and styles that have won her a dedicated fan base and critical acclaim.

“Overdrive is a love story between hip hop and techno, it’s inspired by both genres, but coated in a techno jacket,” said de Witte. “It’s meant to be played loud while driving at night and watching the city lights pass by, and where better to experience that than in New York City?”

Overdrive marks de Witte’s first release since her single “High Street,” and first EP on her KNTXT label since her last EP, “Apollo” which was released in October 2022 as well as her collaboration with fellow techno artist Enrico Sangiuliano on the “Reflection” EP in March 2023. De Witte had previously worked with Sangiuliano on their remix of “The Age Of Love”, which amassed over 40 million streams on Spotify and achieved certified gold status in Belgium. De Witte’s other recent releases include her “Universal Consciousness” EP in 2022 and her “Formula” EP in 2021, which featured the chart-topping lead track “Doppler”.

Repress coming!

High Focus Records is proud to present 'Put That Soul On Me' a brand new 3 track offering from arguably one of the best voices to emerge from these shores in recent years : Rag N Bone Man.
Since having been introduced to the world via High Focus Records in early 2013, Rag N Bone Man's career has flourished in an incredible way and it has become a widely known fact that, as cliche as it may sound, he is the next big thing. From gathering attention from the likes of tastemakers Zane Lowe, Rob Da Bank, Mistajam & getting daytime radio play on BBC Radio 1 among others to working with Hip Hop legend DJ Premier and touring all over the country with chart toppers Bastille, it is a proven fact that Rag N Bone Man's voice has the power to touch the hearts of millions no matter what genre of music you are into. With such a universally recognised talent, its going to be hard for nay sayers to deny the infectious flute grooves of 'Put That Soul On Me' or the slow pounding bass of 'Across The Sky'.
Dirty Dike, normally known for his outlandish lyrics and larger than life provocative character takes the back seat on this release, allowing his signature crunchy production to do the talking. Dirty Dike's instrumentals provide the perfect back drop for the smooth rumblings of Rag N Bone Man, the pair complement each other perfectly as the beat and the voice are just as heavy as one another, both putting on a fantastic display of skill and raw talent which has been synonymous with all High Focus Releases.
The title track, 'Put That Soul On Me' is a catchy celebration song, a festive underground tune praising 'that neat sweet soul' whilst denigrating those 'wack ass drums and played out synths' over swirling flutes. Following the festivities we have 'Across The Sky', a bass heavy downtempo number which explores the side effects of different drugs, upon which our protagonist asks for a helping hand before the heart wrenching saxophone kicks in. High Focus Records fans will be pleased to see that the infamous Rag N Bone Man 'exclusive Bars' from the HFTV channel is finally seeing an official release. 'My Business', which set the internet on fire upon its release on the channel, getting retweeted by the likes of super producers DJ Premier and 9th Wonder, is the third track on this project and features a guest verse from Contact Play legend Ronnie Bosh. With these three unmissable tracks on one piece of wax, The 'Put That Soul On Me' 12'' is going to be the soundtrack to your summer.

Take part in the sound of Bogota's eclectic cumbia scene that permeates the ritual sonido of 'Noches de Medialuna', the latest album by Conjunto Medialuna out now on Little Beat More!


Enter the labyrinth that transcends the danceable and psychedelic, guided by the Colombian accordion and ecstatic percussion of their slow-pitched beat. A tribute to the power of guacharaca, and the street parrandas where each song becomes a discovery of new archetypes of what has always been traditional but today makes part of the urban tribes of Latin America and the world.


Collaborations with artists such as N. Hardem, Mismo Perro, Son Rompe Pera, MC Hydro, or the Japanese-Latin connection with percussionist Muupy elevate this musical journey to a universal level that transcends cultural boundaries.

African Singer-songwriter Blick Bassy is back with a fifth album, again sung in the Baasa language of Cameroon. Madíbá brings together twelve songs in the form of fables, dedicated to the theme of water, in which his high and angelic voice dominates, carried by delicate guitar, synthesizer melodies, and sober brass arrangements. The cuts are diaphanous and nevertheless modernist songs, which testify to a contemporary and poetic Africanity at the crossroads of soul, folk, and electro.

Blick Bassy’s albums have a humanist and universal dimension. His fifth and new solo album, titled Madíbá, which means water in the Douala language of Cameroon, comes in the form of songs close to the fable, in which Bassy explores "a theme shared by all” of water, the source of life.

The fables of the album, all born in the imagination of Blick, explore in a more concrete way different themes related to water, its rarity, its necessity, its energy or its vital power. The twelve songs all bring together a series of figures, animals, or various characters, embodied in turn by Blick Bassy. "I have fun stepping into the shoes of a bird, a cat conversing with an elephant, a flower worrying about its declining beauty, a monkey looking for a spring or a storyteller with his grandchildren. In these texts, water can even take on a human appearance.”

Beyond the tale, the texts of the album also refer to our climate crisis, or to the problems of access to water, a way for the artist to approach serious subjects through a poetic form which avoids didactic or moralizing speeches.