MUSIC

Beach Fossils’ sophomore album, Clash the Truth, is modern post-punk triumph that’s left a lasting impression on the music scene it was born out of. After releasing their self-titled debut and the beloved EP, What a Pleasure, songwriter, and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York. The tracks that would eventually make up Clash the Truth involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter.

Ellen Arkbro’s fourth album, Nightclouds, collects five improvisations for solo organ, recorded across Central Europe in 2023–24.

"Nightclouds is more unabashedly Romantic and introspective than her previous efforts, though it remains firmly rooted in the rigor and precision that have come to define Arkbro’s concept. Extending her previous explorations of spatialized harmony, tactility, and texture,

Arkbro draws equally on sacred music, ECM–style jazz, and downtown minimalism, conjuring a cool intimacy and tone. Her decelerationist chordal improvisations envelop the listener in dirge-like washes, while her close miking reveals the rough haptic grain of the reeds, bringing the listener both inside and outside the sound. Evoking Kjell Johnsen and Jan Garbarek’s duets, or La Monte Young and Tony Conrad’s take on Euringer and Harmer’s cowboy song “Oh Bury Me Not,” Nightclouds channels spiritual pathos through a rigorously restrained architecture.

Following up on last year’s Sounds While Waiting (W.25TH, 2024), a selection of stereo mixes documenting Arkbro’s spatial organ installations, Nightclouds shifts direction, focusing on instant composition and improvisation. Elegant, simple chordal scaffolds support rich, ever-shifting textures; listening closely necessitates surrender to sustained irresolution. Bookending a collection of short pieces are two variations on the titular composition, “Nightclouds,” which is a sly nod to British jazz guitarist Allan Holdsworth: The first take slows down and stretches out a continuously modulated harmonic progression, while the short closing version simply loops three chords. Situated between these tracks are “Still Life” and “Chordalities,” two short works recorded at the Temple de La-Tour-de-Peilz in Vevey, Switzerland. The second half of the album is given to “Morningclouds,” a sprawling work recorded in the reconstructed Gedächtniskirche (Kaiser Wilhelm Memorial Church) in Berlin. Arkbro’s concise musical vocabulary and formal architecture evoke a sense of emotional ambivalence, simultaneously uplifting and mournful, guiding the listener through a spectrum of feeling with a cool and distant beauty. Nightclouds stands as a profound statement in Arkbro’s evolving body of work, at once introspective and expansive, the album reaffirms her singular ability to transform harmonic simplicity into deeply affecting sonic landscapes, inviting listeners into a space of contemplation and emotional depth.

Big Crown Records is proud to present Glera, Marco Benevento’s debut album on the label. Marco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling. Glera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward. Album opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello. Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still.

Big Crown is proud to present Thee Marloes’ sophomore album, Di Hotel Malibu. It arrives as a widening of the frame — a confident step away from the lines that once neatly held their sound, and toward something more porous, conversational, and deeply Indonesian. It’s been two years since Perak, the Surabaya trio’s debut for Big Crown Records, introduced their unique sound. This new record doesn’t abandon that lineage so much as stretch it, showing how much they have grown as a band since the release of their debut and all the experiences that came with it. Composed of vocalist and keyboardist Natassya Sianturi, guitarist and producer Sinatrya Dharaka and drummer Tommy Satwick, Thee Marloes have always worked as a unit, their songs shaped by shared reference points and a lived-in sense of groove. On this album, that collective language expands. The arrangements move across a broader spectrum, with new instrumental colors, unexpected rhythmic turns, and a looser approach to structure. The band describes it as a response to the last two years of living: social realities, love lives in flux, and all that success has brought into their lives. The album opener “Under the Silver Moon” is a stone cold two-stepper that addresses the bitter and the sweet of long-distance love affairs over a breezy musical backdrop. “Six Years” is a page from singer Natassya Sianturi’s life and her struggle to take the step of leaving a comfortable and stable daytime job to follow her dreams of a full-time career in music. “Harap Dan Ragu” explores life, death, and the emotions that orbit them, opening with an earworm guitar riff that ushers in Sianturi’s honeyed vocals, this time in her native language of Indonesian. The album continues to switch vibes and tones track to track with the darker, more introspective “The More”. The gorgeous musicianship and pulsing drums are met with the deeply poetic lyrics that walk the line between futility and unbreakable resilience. Thee Marloes dip into their drop dead gorgeous ballad bag with “Through the Changes” with a powerful yet delicate song about how we imagine and deal with what comes after death. “Boru” sung entirely in Batak, a traditional language from North Sumatera, goes further into asserting heritage as a foundation and mission statement for the group while “I’d Be Lost” takes us back to the dancefloor with a light and lovely profession of love. In the end, Di Hotel Malibu is the result of the best type of inspiration: the global attention Thee Marloes have earned, and the chance to play their homegrown music for fans around the world has put wind in their sails. Enjoy the record, then catch them as they tour the globe. Soul Music from Surabaya, another Big Crown Sureshot.

Big Crown Records is proud to announce Marco Benevento to the family with his unstoppable debut 7”. A true piano virtuoso who’s been playing since the age of seven, Marco’s career has taken him around the world many times over, earning him a deep discography and a reputation as an in-demand session player.??Big Crown co-founder and Grammy-winning producer Leon Michels first brought Marco into the fold during the recording of El Michels Affair’s Adult Themes album, and he’s been lending his talents to countless Big Crown projects ever since. Outside the label, Marco’s unmistakable touch can be heard on records by Clairo, Kevin Morby, and Freddie Gibbs, among others.??But enough about what he’s done for everyone else—this release is Marco at his finest: doing his own thing, and doing it well. The A-side, “Frizzante,” is pure celebration captured on wax, waiting for the needle to set it free. It’s a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. From the first note, the infectious topline riff hooks you in, giving way to

cascading piano runs, lush horn arrangements, and layers of electric piano and synths that keep the energy rising. There’s no lull, no letup—just a proper soul-jazz dancefloor affair.??On the flip side, Marco shows an entirely different shade of his sound with “Turnadot,” featuring Italy’s own Marianne Mirage.

Hauntingly beautiful and cinematic, the song sits comfortably between Portishead and Serge Gainsbourg. Marianne’s vocals float over Marco’s perfectly balanced arrangement—his production both restrained and expressive, making the tune universally captivating, whether or not you speak Italian.

Big Crown Records is proud to present the sophomore full-length from Les Imprimés, Fading Forward. Spearheaded by self-taught multi-instrumentalist and producer Morten Martens, the album explores mortality, escapism, and a myriad of experiences associated with love.

Martens made a tremendous impression with his highly acclaimed 2023 debut Rêverie and has since cultivated a diehard fanbase whose demographics are as wide-ranging as the influences that shape his music. He mixes tones from ’60s and ’70s soul with arrangement nods to doo-wop records, takes drum energy from hip-hop, and covers the whole thing with vocal stylings drawn from ’90s and 2000s alternative. But it is Martens’ lyrics, emotion, and delivery that truly bring everything together and help him stand out from his peers. There’s an infectiousness and pop sensibility in the writing, executed with the utmost class and taste, giving Les Imprimés the rare quality of immediate attraction that only deepens with repeat listens.

Hailing from Kristiansand, Norway, Martens plays nearly every instrument on Fading Forward, produces and arranges the album, and of course sings. “It’s soul music, but I don’t exactly have the soul voice,” Morten explains humbly. “But I do it my own way, in a way that’s mine.”

Album opener “You & I” is Morten’s homage to his partner, who sticks it out “through the chaos and the blunders” with him. Punchy drums and cascading pianos make this one a proper two-stepper and an anthem for those lucky enough to find someone who understands them and helps them through the parts of life where they need it most. “Again & Again” slows the pace and deals with the heavier side of love and life, as Martens professes his resilience through the mishaps, heartbreak, and letdowns of love affairs gone wrong. “Untainted Love” brings the sweet side of new love center stage with a tune that plays on the title of the Gloria Jones classic. “Get Lost” leans into the metaphysical with an invitation to leave reality behind and spend time with Les Imprimés, where there’s room to dream. “Only Love” is built over a gritty drum break, with a chorus that is simple yet profound, and an arrangement that gives it the energy of a mantra. The album turns to the dancefloor on “With You,” an uptempo, uplifting tune about a fleeting encounter that leaves you pining for more. Martens longs for her, but joyfully—as if simply remembering that such a connection is possible is exactly what he needed. Martens is joined by guest vocalist Ama Li on “Miss the Days,” a slow-burning ballad that reckons back to simpler times when love felt easier. Fading Forward closes on a wholly somber note with “Paradise,” a tune that wishes freedom and peace to a friend who passed away.

In the small town of Kristiansand, Norway, there is a huge talent who spent much of his life laying low and playing in the background. Signing to New York’s Big Crown Records inspired Morten Martens to begin sharing his own music. The response to his debut Rêverie pushed him out of the studio and onto the stage, serving as inspiration to push his artistry to new heights—heights that are fully realized on Fading Forward.

Thee Marloes, by way of Surabaya, Indonesia are Natassya Sianturi on vocals, Sinatrya Dharaka on guitar, and Tommy Satwick on drums. Their unique sound mixes elements of their local culture and music with influences of Soul, Jazz, and Pop.

Big Crown Records is proud to present Forever & Ever, the debut album from Thee Heart Tones.Hailing from Hawthorne, California, Thee Heart Tones are both carrying on a tradition and pushing the boundaries with their music. Lead singer Jazmine Alvarado is just 19 years old and the oldest member of the group, Jorge Rodriguez is 21, but one listen to their record and it becomes blatantly apparent they are a talent well beyond their years.Thee Heart Tones are Jazmine on vocals, Ricky Cerezo on keys and organ, Jorge on drums, Jeffrey Romero on bass, Peter Chagolla on lead guitar, and Walter Morales on rhythm guitar. As the story goes, "one day I got a DM from Ricky Cerezo asking if I wanted to write a song for his new (then unnamed) band," Jazmine says. "I knew his drummer and the other boys from middle school, so they were familiar faces. They sent me an mp3 of an instrumental they'd written and told me they wanted lyrics, so I wrote some and sent it to them." That song ended up being "Don't Take Me as a Fool," a downbeat, minor key ballad on which Jazmine's sultry, pitch-perfect vocals soar, and which is now destined for their debut album. Ricky went home to play "Don't Take Me As a Fool", recorded as a voice note on his phone, to his dad. "I was hesitant. Dad knew this music better than anyone; he grew up with it. But he grabbed my phone and held it to his ear. His approval meant a lot to me. But he had the same reaction Jorge and I did when we first heard Jazmine sing. 'This is going to be a hit,' he told me. 'You guys have something really special here'." It was that same recording that caught the ears of Leon Michels and Danny Akalepse of Big Crown Records, who both heard the potential in the group immediately. After they signed to the label, Leon flew out to Los Angeles to record their debut album with Tommy Brenneck at Tommy's Diamond West studio. They knocked out 14 songs in five days, capturing the charm of teenage soul and mixing it with their seasoned production prowess and the result is a modern classic Soul album.Album opener and title track "Forever & Ever" is an infectious two-stepper that instantly lifts your mood while heavy duty B side ballads like "Should I Call You Tonight", "Cry My Tears Away", and "It's Time" hold court with the genre's classics. They pick up the pace and fill the dancefloor with "Need Something More" as Jazmine matter of factly sets the record straight on a Northern Soul styled track. They cover the Álvaro Carrillo penned classic "Sabor A Mi" to great effect, doing it justice and putting their version right up there with the best of them. Another standout is their version of The Vanguards classic "Somebody Please" which they change the tone of and take to a different level. The punching drums of "No Longer Mine" juxtapose Jazmine's honeyed vocals and wind up with the gritty energy of a mid 90s hip hop sample.Forever & Ever is both a testament to their unmistakable musical chemistry and talent. Their intentions as a band are testament to their collective character. Choosing to cover "Sabor A Mi" "allows us to let our audience know we go back to our roots," Jazmine says. "Growing up in LA, you get influenced by the city, the artwork, the music," Ricky says. "Dad didn't own a lowrider car, but other members of our family did. Impalas. El Caminos. We were influenced by the culture, particularly the Chicano culture. And oldies and soul music played a big part." The style. The culture. The nod to the past. "That's what we're going for. We want to connect young Chicanos with their heritage. And we want to unite people — old and young."

The Marloes follow up the massive success of their debut album Perak by pressing two of the stand out tunes from the record on a 7”. The A side “Not Today” is right up there with the grooviest feel good songs you could ever play on a Sunday morning. Lead singer Natassya Sianturi reminds us to make space for ourselves no matter what life throws our way. From the message, to the music, to Natassya’s gorgeous voice; this is a cool out, kick back, and enjoy anthem. The B side “Over” starts out with a heavy drum break and evolves into an epic arrangement drenched in layers of gorgeous melodies that perfectly capture the havoc of a love affair that ends abruptly. Natassya’s vocals soar over Raka’s intricate production seamlessly as she tells a tale in three parts; attraction, intimacy, and decline that crescendos to an epic ending.

Lady Wray makes her highly anticipated return with Cover Girl, her third album on Big Crown Records. The album opener “My Best Step” says it all, “my next step is my best step”, and indeed she is taking her artistry to a new high and making the best music of her life. The celebratory Cover Girl takes listeners on a free-spirited joyride glittered with ‘60s and '70s-inspired soul and disco, ‘90s hip-hop and R&B, and perhaps the most defining element, gospel. Following the healing journey that was 2022’s Piece of Me, Nicole has performed on The Late Show With Stephen Colbert, NPR’s Tiny Desk, and toured the world. After this period of growth, Lady Wray is now ready to let her hair down and embrace all of what life has to offer. Reunited with producer Leon Michels (Norah Jones / Clairo / El Michels Affair) for the record, the outcome is effortless and undeniable, a reflection of their longtime collaboration that extends over a decade.

“I've gravitated more towards love and self-care with this album. Piece of Me was realizing that I was going to be a mother, and all those feelings were on my heart,” Lady Wray says. “Now I'm able to sit back and be a real boss. I got my career, my motherhood, and my marriage by the horns. I've grown into this more self-aware and beautiful flower for Cover Girl.” With an almighty voice, soul-stirring lyrics, and a magnetic personality, the singer-songwriter reflects her appreciation for her family, her faith, and her renewed love for herself—all of which drive her new record.

Lead single “You’re Gonna Win” is a report to the dance floor, feel good banger. Cole lets loose while naming and claiming her power “I do not care who came before me, after me there will be none” as she likens her company to winning the lottery. The Fabulous Rainbow Singers choir joins on the chorus taking the whole affair to church and putting it next to the finest gospel-disco records ever pressed. “Be a Witness” is a funky, mid-tempo powerhouse that would make Prince proud. Nicole finds the perfect groove over punchy drum machines and infectious synthesizers, singing about a love destined to happen, and spreading the good vibes to everyone in earshot. Cover Girl’s title track is one of the album’s most vulnerable moments. Lady Wray delivers a show-stopping performance over the stripped down track as she details her journey to finding herself again: “I lost myself trying to please someone else / I want to be me again.” The title stems from a childhood nickname she earned for her consistently manicured style. Lady Wray explains. “As I grew up and got into the music business, I lost that happy part of me. I see that happiness in my daughter, who’s just beautiful, talented, and smart. ‘Cover Girl’ is me going back to that little girl. It’s about getting back to loving yourself and healing.” Similarly on “Where Could I Be,” she reclaims the happiness and sense of identity that she lost focus of through life’s struggles. Nicole gushes about her love and respect for her marriage on “Best For Us” & “Hard Times”, both acknowledging the imperfection and referencing the strength and resilience of true love. She sings to her daughter on “Higher,” teaching her how to love and be loved, encouraging her to be confident and persistent.

Lady Wray was born to sing, sharing her soul and her life with us through her music. She has amassed a diehard worldwide fanbase with her relatable messages and incomparable voice. Whether singing of her struggles or strengths, there’s a comfort that comes from the way she makes us know we are not alone in any of it. Nicole Wray is inspiring and uplifting. Having been through a lot, she’s taken all of it and made herself a better person and a better artist.

“You need to rule your own world. Don't let anybody get in your way. You rock with your dreams until the wheels fall off,” Lady Wray says. “That's what I've been doing with my career since 1998. I know who I am and what I bring to the table. It's been a heck of a journey, and I feel so happy to be making the best music of my life.”

Hardly anyone outside Ethiopia seems to know Hailu Mergia & The Walias Band “Tezeta” exists. Within Ethiopia this tape has been impossible to find for decades. That’s about to change with this release, which makes available this epochal recording on LP, CD and Digital formats for the first time. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album is the band’s second recording, released in 1975. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu’s melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it’s an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears. (text by Tessema Tadele)

By 1978, Addis Ababa’s nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6am. But that didn’t stop some people from dancing and partying thorough the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning.
One key denizen of Addis’ musical golden age, Hailu Mergia, was preparing a follow up to his seminal Tche Belew LP with the famed Walias Band. It was the band’s only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band’s afternoon rehearsal meetings, with sessions lasting three days.
“My instrumental music was very in-demand and I could have waited,” Mergia recalls. “But I wanted to have a different kind of sound. I had done several recordings with Walias so this time I needed a different sound.”
Dahlak Band catered to a slightly more youthful, local audiences, while Mergia’s main gig with the Walias at Addis swankiest hotel had a mixed audience that included foreign diplomats and older folks from abroad. Therefore their sets varied included lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd.
When Mergia entered the Ghion hotel nightclub to record this tape he was teaming up with a seasoned band who were particularly suited to his instrumental sound. Ethiopian popular music at the time combined elements of music from abroad and Dahlak balanced Mergia’s traditional song selection with the modern approach of a seasoned soul band.
Crucial to the resulting collaboration were Mergia’s arrangements which replaced distinctively use vocals for melodies normally played by instruments. His arrangements conjured memorable new flavors out of existing songs already popular with listeners.
Before Walias Band’s successful gig as house band at the Hilton, Mergia was a young musician hustling from one place to another around Addis. After finishing gigs at the Hilton or on nights off, he would go to good bar where azmari—roving musicians who play traditional songs for tips—and he’d pick up ideas and inspiration. Late night azmari performances revealed for Mergia which songs were moving people in the city. He regularly attended clubs, bars and special private after-hours venues called zigubgn where azmari perform. For Mergia, it was crucial to feature songs he knew people would recognize.
Amharic music has a large repertoire of standard songs everyone knows, the original composers and lyricists of which are often unknown or forgotten. Many of the songs Dahlak, Walias and other bands of that era (including Ibex and Shebele) were playing came from the treasury of shared music, which helped ensure a good vibe in the air.
Mergia released Wede Harer Guzo (“Travel to Harer,”with Sheba Music Shop, which was located in the Piazza district but has long since shut down. Recalling the audience’s positive reaction to Wede Harer Guzo’s novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there’s no indication as to why the cassette appears largely forgotten until now. 

14 short melancholy tape-loops from the early eighties. Remastered and now available on conventional pressed CD in Trim-Pak (previously available as a very limited CDR. "Melancholia is probably the best Basinski's record until now, even if this is hard for me to say given my love for each one of his releases. Contrarily to his 'continuing' projects such as Disintegration Loops and Water Music, this is a sort of a sketch album, made of short pieces all created with tape loops and some synthetic wave here and there. This music is so beautifully delicate and sad in its auto-reflective moods, it stands right there with everything ranging from the usual suspects in the 'ambient' field, to a distorted damp ghost of Claude Debussy or Maurice Ravel put into a time machine. Just ravishing as you can imagine, William's almost suffocated loops celebrate the burial of any enthusiastic thought, to make room to the most difficult introspection -- the one growing you in a hurry and leaving you alone, observing from a safe distance. This beauty is for any human being who's not afraid to understand life's happenings -- maybe the hard way, but who cares?" --Massimo Ricci, touchingextremes.org.

50s-60s era country music with a slice of that famous southern humor

With a mix of modern and traditional instruments these fourteen songs go through the progression of an Ethiopian Amhara wedding sung in Amharic. With the trio of singers, Lemma G. Hiwot, Zenebech Tesfaye, and Selamawit G. Selassie, alternating turns at the microphone, and sharing call and response duties, a relentless frenzy of hand clapping incites dancing and smiles. The consumption of tedj (honeywine) and the swirling love of a wedding was captured in the studio with euphoric energy to take away to play over and over again when the festivities are over. With hand screened covers and an insert of wedding photos accompanying the liner notes, this is the next best thing to an invitation to the real thing. Originally released on Philips Ethiopia in 1973. A co release with Mitmitta Musika of Addis Abeba, Ethiopia.

50s-60s era country music with a slice of that famous southern humor

Tearing apart the sound of the cello and zooming in to its atomic particles, Max Eilbacher and Lucy Railton muddle the real and the virtual on 'Indifferent Rocks...', dreaming up a mind-altering study of authenticity and isolation that constantly challenges aesthetic expectations. Originally commissioned by New York's ISSUE PROJECT back in 2022 for their "Distant Pairs" series, where the organisation matched two artists to consider the implications of isolation post-COVID, 'Indifferent Rocks are Rearranged into a Dam' uses the concept of distance to inspire almost every aspect of its construction. Railton and Eilbacher's separation is represented in the method itself, with mics placed in the middle of a quadraphonic setup; the gap between the acoustic source material and the preternatural result; the cello and the digitally re-synthesised simulation. Over almost half an hour, the duo engage in a surprisingly blithe deception, daring listeners to dissect the material and figure out what's actually going on. And for the first few minutes at least, that's not an easy task. Eilbacher's reduced, spectralised drones slowly reveal a familiar back-and-forth of a bow; might it be cello funnelled through some pedals, or a simulation? Or both? It doesn't get any easier to parse as the piece evolves, either. The sonic spectrum is enhanced with booming low-end and eardrum-piercing high end animations, but it remains cryptic, occasionally sounding like pure synthesis and occasionally close to Railton's bewitching last album 'Blue Veil'. Pattering rhythms materialise from the sidelines and in the stark middle section, raw staccato notes are spray-painted with digital gloss, then repeated, swallowed and regurgitated by unseen entities. Somehow, the process feels as mischievous, as rigorous and as texturally engaging as those vital early GRM experiments that posed the initial questions about electronic and acoustic music we're still attempting to answer. The aesthetic is very different, but the philosophy is the same - Railton and Eilbacher implore us to experience sound just like they do, not in one defined place or another, but in a third space where anything's possible.

Madelyn Byrd draws on teenage years spent in the Sonoran Desert for Night Rider, a dreamlike meeting of poetry, electronics, ambient music and experimental pop. Cicadas, engines, clattering percussion and processed vocals evoke the desert after dark, while Patrick Shiroishi’s sax cuts through the electronic haze. There are echoes of Robert Ashley and Harold Budd in Byrd’s mix of spoken narrative, choral passages and abstract sound design, but Night Rider follows its own road, moving from the insect-like crunch of ‘Imprint’ to the woozy pop pull of ‘What Is, What Was’.

Mark Fell follows Nite Closures with Servitude In Context, another set of fiercely unconventional computer music built for movement. Drawing on decades spent exploring electronic dance music, Fell works with clashing tempos, asymmetric rhythms and tightly controlled digital percussion. ‘Actutations #1 (extended)’ plays with acceleration and deceleration, while ‘time-slur’ and ‘Taut manifold’ push into fractured rhythmic territory. ‘Low energy mantra’ brings hints of gamelan and footwork before ‘anode’ and the 12-minute ‘3 lost contours (pts 1-5)’ send things into increasingly wild, restless motion.

Following 1989’s Pipe Dream, Mary Jane Leach presents Pipe Dreams II and III, recorded in Ghent and Cologne in 2023 and 2024. Both draw on her lifelong fascination with the pipe organ, using sustained notes and changing stops to produce dense harmonics, throbbing low frequencies and unexpected acoustic phenomena. Pipe Dreams II was composed for the Miry Concertzaal organ, while Pipe Dreams III saw Leach back at Cologne’s St. Peter’s Church, improvising on the instrument that inspired the original piece more than three decades earlier.

Another spellbinding compilation exploring the depths of overlooked Greek folk music from the curatorial genius Christopher King. Highlighting the virtually unknown work of the heartbreakingly haunted hypnotic clarinetist Kitsos Harisiadis. From 1929 through 1931, Harisiadis recorded instrumentals that have endured in the Epirotic repertoire well into the twenty-first century. Kitsos plays all fourteen pieces as if he were a Greek-Shaolin monk conversing with a grasshopper at his feet. Through King’s painstakingly thorough research and immersive story-telling, the listener is able to fully absorb the otherworldly aura that radiates throughout the release. Painstakingly remastered directly from ungodly rare original 78 rpm discs and coupled with artwork by R. Crumb and design by Grammy Award-winner Susan Archie, the entire package is delightful in every sense.

Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3. Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history. These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. Remastered from the original analog tapes and pressed on heavyweight vinyl for the discerning noise-nik.

Homer Steinweiss, the Brooklyn based soul/funk drummer, always had a soft spot for folk music. Paul Spring, a young idealist folk singer traveling the country with his guitar, always had a beautiful falsetto in his back pocket. A family introduction would lead to Homer producing a few solo records of Paul’s, which would eventually lead to the creation of Holy Hive. The two enlisted Joe Harrison on bass and started out recording their first tunes as a group. A tour with soul legend Lee Fields would turn out to have an unexpected effect on their sound as they played their material to crowds of soul fanatics looking to dance. It was this realization that forced the next step in their evolution and gave birth to a sound unique to Holy Hive, a sound that walks a line so perfectly it necessitated a new genre, Folk Soul. Homer has been drumming professionally since 2000 and has provided the back beat to records by Amy Winehouse, Bruno Mars, The Jonas Brothers, and Lady Gaga to name a few. He has toured the world over with soul acts like Sharon Jones & The Dap Kings and The Arcs. With all of that under his belt, Holy Hive is the first band that is truly his own and you can hear that it is close to his heart. Paul is from a small town in Minnesota where he spent his formative years studying Ancient Greek mythology and practicing classical guitar. He toured the states for years with only the company of his guitar, playing solo shows to make ends meet and occasional library gigs promoting his self released children’s record, Home Of Song. Listening to their debut album, their different experiences and influences have all shown up. From the heavy downbeat of the lead single “Broom” to their intimate cover of Honeybus’ “Be Thou By My Side,” Float Back To You showcases their songwriting prowess as well as their impeccable musicianship. Spring’s fondness for ancient mythology shows up in a few places on the album as well adding another level to their work. They adapt the Greek poet Sappho’s “Fragment 31” to music on “Embers To Ash” and completely rework the Irish folk tune “Red Is The Rose” into a modern day two stepper. Another standout track is the already classic “Oh I Miss Her So,” which first showed up on their 2018 Harping EP and features accomplished harpist Mary Lattimore and trumpet by Dave Guy of The Roots. The symbiotic relationship of Homer and Paul has been likened to that of an oxpecker and a black rhino. Paul’s delicate falsetto and fluttering guitar rests atop Homer’s brawny drums in perfect harmony. There are many levels to Holy Hive, some of them show up on the surface, but some of them are like the album’s title track; you listen to a gorgeous love song only to find out later it is about coming home to your cat. This is perhaps the most telling of Holy Hive, they are easy to like on first listen but spending time with their music will reveal a much deeper experience.