The band that became NIGHTSHIFT formed in 2019 in the ecosystem of Glasgow's current indie scene. The city's fertile & creative group of musicians have been committedto pushing the boundariesof and blurringthe lines between DIY, punk, experimentalism and indie pop for decades now; a home to bands like Shopping, Vital Idles, Current Affairs, Still House Plants, Richard Youngs and Happy Meals as well as forebearslike Orange Juice, Teenage Fanclub & Yummy Fur. NIGHTSHIFT slot right in with all mentioned, featuring members from current indie stalwarts Spinning Coin, 2 Ply and Robert Sotelo. The band was formed by David Campbell (guitar), Andrew Doig (bass), Eothen Stearn (keyboards/vocals) & Chris White (drums) as a "No Wave/No NewYork/early Sonic Youth/This Heat-esque" group, but their sound quickly evolved once guitarist/vocalist/clarinetist Georgia Harris joined (as the band was writing "Zöe"). The band self-released a full-length cassette on CUSP Recordings in early-2020, laying the foundation of their sound; hypnotic, melodic, understated indie post-punk with hooks that stick around long after you've heard them. "Zöe" is the band's newest effort, and first for Trouble In Mind. Unlike the band's previous album, the songs on "Zöe" weren't conceived live in the band's practice space, but rather... pieced together and recorded remotely during quarantine lockdown, with each member composing or improvising their parts in homes/home studios,layering ideas over loops someone made and passing it on. The isolation actually allowed for an openness and creativity to flow and many of the songs took on radically different forms from when they were originally envisioned. Vocalist & primary lyricist Eothen Stearn says "The process of writing these songs separately during lockdown was a kind of exquisite corpse - I liked this gesticulation of reaching out to one another and responding. Building up the next layer and passing it on." Stearn says "poetic restraints" to writing & Eno's Oblique Strategies concepts were on their mind when composing the words to the songs on "Zöe" and lists the influence of author Rosi Bradiotti's book "The Posthuman". "Zöe" means "live drive", derived from the word conatus. Bradiotti defines conatus as“an effort or striving, endeavour, impulse, inclination, tendency, undertaking, serving is an innate inclination of a thing to continue to exist and enhance itself.” and Stearn views it as "...a kind of feminist re-claiming of communal public, anti- privatisation, looking to strive for social and environmental justice. Zöe kind of became a character of striving for me when writing.". "Zöe" kicks off with "Piece Together", ahypnotic song anchored by the band's chanted vocals and serpentine guitar licks. "Spraypaintthe Bridge" showcases Harris' clarinet in an unexpected & delightful melodic shift during the song's anti-chorus. Elsewhere tunes like the swooning "Infinity Winner" and "Outta Space"s minimalist, slinky rhythm swirl in a late-night vibe, while "Make Kin" ruminates on "Looking to kinship as a way of engaging with entangled environmental and reproductive issues... how a band is a bond" andlurches forward with kinetic guitar strangling & staccato rhythmic percussion from White & Doig. "Power Cut" is the album's centerpiece, kicking off Side two & lures the listener into its world over it's 7-minute runtime. Lulling them into involuntary movement with its waves of melodic harmonies, synth drones and metronomic pulse,until they all come crashing down in the song's dissonant midsection. The band acknowledges the whiffs of nostalgia prevalent in "Zöe"s songs (the title track in particular), and the nature of writing & recording the album is soaked in the self-work, reflection & reevaluations involved not only personally but creatively in each member's lives. Consequently, the album becomes a collection of sketches of hope, growth, awareness of the power of the world & the power of self, kith, kinship, friendship, resistance, and possibility. more

Avant-garde cosmic sounds from Senegal, Wau Wau Collectif's "Yaral Sa Doom" is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children's voices sing out to recordings of crashing waves.

“Run go tell your friend Ancient Astronauts strike again!” Don Letts (Culture Clash Radio / BBC Radio 6 Music/UK) “Yes Yes & Yes. Thanks for the connection. This is lovely music. I have a bi daily stream on Twitch. These will get lots of play on the shows!” Osunlade (Yoruba Soul / USA) “Boom shot! Wicked tracks. I love your Sonics and production sound. Lots for me to rinse.” Dubmatix (CAN) “Well received, thanks. Some really unique bits, liking the riddim tracks especially. Bless up.” Liondub (USA) ALBUM INFO: Over three years in the making, ZIK ZAK is an African musical odyssey, featuring some of the freshest talent from nine countries on the mother continent. Tying this remarkable range of artists together are German production team ANCIENT ASTRONAUTS, weaving the vocal talents of the African singers into their distinctive “Boom Dub” sound. Drawing on Hip Hop, Dancehall, Roots Reggae, Bass Music, Soul, Electronica and Breakbeat, the production incorporates live instruments and musical influences from all over... more credits released January 22, 2021 Lyrics written by: Song 1 and 4 written by Alex Namugera. ong 2 and 17 written by Aineomugisha Alimansi Wanzu. Song 3 written by Joyce Olong. Song 5 written by Banyana Alice. Song 6 written by Leonel Jose Wilfred Manuel. Song 7 written by Maureen Rutabingwa. Song 8 written by Tia Godfrey. Song 9 written by Thomas Adegoke Odukoya. Song 10 written by Stephen Makoha. Song 11 written by Kasibante Edward. Song 12 written by Olusegun Ayodele Adewale Babatunde. Song 13 written by Ife Piankhi Menfesawe Imani. Song 14 written by Tekya Abraham. Song 15 written by Michel Cesar Cardoso. Song 16 written by Kalanda Peter. Song 18 written by Jimson Julius Kivuyo. Song 19 written by Echengu Jonathan Letia. Song 20 written by Mamadou Konkobo. All music composed by Ingo Moell. Produced by Ancient Astronauts. Mixed by Kabanjak at Evergreen Studio. All instruments & programming by Kabanjak. Additional musicians: Sekou Titina Camara: Drums & Djembe Tofier Jery N Sougan: Djembe Mouhamadou Sall: Djembe & Calabash Album concept & coordination by DOGU. Published by Oneminded Soul Publishing. Mastering by Artur Wnorowski / TurnUp Mastering. Cover art by HAGOP. Layout by Lisse / Brushwood Entertainment. Executive producer Thomas Katongole-Strauch. Much love & respect to David Cecil and East African Records in Kampala for being such a big help with organization, recording and touring logistics in East Africa. Many thanks to Wana Benjamin and Muggaga Timothy for recording most of the Ugandan artists for us. You guys at East African Records rock! All rights reserved. LC 12393 / GEMA / SRLP 011 P & C 2021 Switchstance Recordings

Laughing Ears is poised to release her second LP this January via club music vanguards, Infinite Machine. Her lengthiest offering to date, Blood consists of 10 tracks that highlight Laughing Ears’s knack for building otherworldly atmospherics within club-ready, dance music structures. Taking the tale of Fenrir as it’s starting point, (a giant wolf in Norse mythology who spent much of his life bound and chained to a rock in captivity), the album conceptually deals with family ties and the melancholic beauty that can be found in the darkness of loss. Blood opens with the airy, gliding synths and heavy drumwork of Flickering Shadows. The track has a unique sense of space due its wide stereo-imaging as well as Laughing Ears’ haunting melodies and driving rhythms. A 100bpm creeper fit for exploring uncharted virtual lands. On the following track, Loki, things are stripped back to their functional essentials. Tabla hits, bass pluses and strange whistles brush up against each other in a head-spinning assemblage before surging towards a climactic resolution. The serene Untouched Places showcases Laughing Ears’ unique approach to melody and harmony. With a background in singing herself, her synths lines here seem to tonally intertwine, like vocal DNA, veering from harmonious and dissonant phases. Compared to the tranquility of Untouched Places, LP title-track, Blood, moves the record in a more intense direction. A brick wall of compressed percussion and humanoid-sung samples seem to battle it out for the listener’s attention in an enthralling sonic confrontation. On Blood’s mid-point, Night Whisps, the producer’s love for the thrilling soundtracks of Satoshi Kon’s anime movies definitely comes through clearly. Bass drones claustrophobically reverberate around the mix - acting as a musical backbone that a wide array of staccato samples are stitched onto. Next up, Murderous Means, as its blood-thirsty title suggests, is a brutal and hard-hitting club track that’ll keep listeners guessing as the composition twists and turns. The song’s furious, ever-evolving drum patterns create mesmerising rhythms you can’t help but bob your head to. The polyrhythms continue on the following piece, Buona Fortuna. Like footwork, a genre she looks to for inspiration, on Buona Fortuna, the main groove is built out of a disparate family of drum samples which work in tandem - much like how individual dots of an Impressionist painting cooperate to form a single, concrete image. Laughing Ears then slows things down slightly with Glimmer, which sees the producer mix the low end stylings of UK Funky with strung out horns and gong hits. On Potcheen, the longest of the record, Laughing Ears ambitiously constructs a track that starts from curious, ambient beginnings before morphing into a ferocious footwork-infused banger. Rounding off the release, Warm as A Lizard is a groove-laided drum freakout, crammed full of dense textures which build into a tonal fever pitch.

2021年 R&B全能創作才子ØZI 最新作品《PEDESTAL基石》終於降臨 此篇章以ØZI 出道後三年間的人生變化為核心， 以全英語打造出真正屬於ØZI 的正統R&B世界觀，正式投入海外音樂戰場。 三年前ØZI 以新人之姿入圍六項金曲獎，最後拿下新人獎堪稱新世代的才子，以R&B為主的ØZI製作出一張奠定自我的個人專輯《ØZI : The Album》展現了全製作的能力。 而現今的R&B也與三年前稍有不同，在經歷過藝人成長階段拿下獎項得到認同後，ØZI 更確信自己的音樂要往何處發展，這樣的音樂類型需要回到他們真正的海外戰場，規劃與國際音樂製作人和歌手的合作，把文化與製作水平繼續提升！ 而整個計畫將發展出全新的製作方式，全作品飛往韓國與美國，與當地最強R&B音樂人合作，製作出屬於這時代R&B應有的味道和標準，出現在合作名單的音樂製作人Ian Thomas是製作過PBR&B天王 Bryson Tiller及Ian Dior的製作人！歌手則有Arin Ray 是與Kehlani, Ty Dolla Sign, Meek Mill, Babyface合作過的同等級代表性歌手！加上Jay Park旗下H1GHr Music的韓國R&B天王GSoul都出現在合作名單，以此規格製作與發行的所屬音樂廠牌新樂園也在與米奇林和剃刀蔣的運作下發展成更完整的音樂廠牌「新樂園Forbidden Paradise」與國際音樂公司Transparent Art 結盟合作，將ØZI的音樂正式在海外紮根！ 而你現在聽見的則是由台灣出發，但無時差與世界同步的國際音樂作品 首波主打 〈SLIDE〉 與美國天王級R&B製作人Ian Thomas合作的街頭R&B戰歌，有了一個原因我們今晚必須搖旗，late-late-6是時間代號，帶著我的曲棍球隊攻下這個城市，演唱著屬於我們的勝利曲 Shawty wanna slide?

As the Cleveland band returns to Electrical Audio at full force, they retain their penchant for rueful concision and world-weary chronicles of pandemic existence.

For our forth release, T4T LUV NRG present an e.p. of two beautiful songs and one evocation by label co-founder, DJ, and producer Octo Octa (Maya Bouldry-Morrison). “She’s Calling” is the third piece in Octo Octa’s two-year exploration of the connection between music and ritual, closing the loop on themes explored on her “For Lovers” ep (Technicolour, 2019) and full-length album “Resonant Body” (T4T LUV NRG, 2019). While many describe dance music in terms of escape, for Octo Octa and many others like her, dance music is about connection. The connections we feel on a dancefloor are transformative, but in time spent alone, dance music remains a powerful tool for connection with nature, with ourselves, and with something ineffable that feels like magic. The title track, “Goddess Calling,” captures a moment of such revelry, a result of the union of sound and ritual. Maya wrote the second song, “Find Your Way Home,” in early 2020, a few weeks before she cancelled her tour and headed back to the States because of the pandemic. She originally intended the title as a metaphor, the journey being internal, but the title would prove to be prescient. She made the song in order to take a trip into herself, to bring herself peace during an intense time. Many religious and mystery traditions employ the use of uttered word formulas as a way to bring something into your life. “Spell for Nature” is Octo Octa asking in her own voice to connect with nature personified in the form of a goddess. The recording is about the moment when she saw something she knew was there all along. When she peaked behind the curtain and found something enveloping and eternal. Poem: There’s a light in the center of the woods A bright fire seen through the trees We’re around it gazing into the flames She’s brought us here A bell chimes She’s asking you to come as well We’ve heard her voice since the beginning And You’ve been listening your entire life She’s calling 50% of the profits from the album will be donated to the Sylvia Rivera Law Project (SRLP), which works to guarantee that all people are free to self-determine their gender identity and expression, regardless of income or race, and without facing harassment, discrimination, or violence.

福禄寿FloruitShow首张专辑，怀着一颗真诚的心来创作音乐，期待能够得到你们的共鸣。这些作品被形容为“重拳”与“拥抱”，收录在这张专辑里，《我用什么把你留住》，将听众与生命根源处生发的温柔和力量紧紧捆绑在一起。我们感到荣幸我们活着，并有幸感到平凡、幸福、痛苦与绝望。当生命如尘埃般瞬息划过，要记得，苦难也是这趟旅程中璀璨的恩赐。请别走的太远，我们想用这些歌把你们留住。

金曲歌后推出演唱会同名歌曲《HAVE A NICE DAY》，农历年后上线这首轻松舒服、幽默治愈的单曲，同时符合新年新气象、迎接新生活的主题。 魏如萱出道十八年，发行六张个人专辑，从创作人、歌手、电台DJ到偶尔斜杠演员的多重身分，这一路走来，魏如萱形容自己像是爬楼梯般，每一步都走得踏实，也因为拥有绝佳好人缘与创作才气，更让她成为华语乐坛备受欢迎与争相合作的女生唱作人。从Legacy到TICC，两度唱进小巨蛋、四度入围金曲最佳国语女歌手，去年魏如萱更独挑大 梁主持金曲奖颁奖典礼，并同时拿下第三十一届金曲歌后，因为有著歌迷们的陪伴，一路走到今天，年初更宣布即将在7月10日三度攻蛋，再创唱作生涯里程碑。 『不论快乐或悲伤，过好生活就有灵感。』是魏如萱谈创作与生活的感悟。概括今日之前，我们和魏如萱一同拥有的好与坏，像是刮去身上的坏东西，留下红色可爱的斑点，伤口有一天也会变成身体的一部分，闪著新生皮肤的光泽。由生活里大大小小的事物，堆叠而成的创作灵感，更是魏如萱的音乐作品能够打动人的原因。 加码推出演唱会同名歌曲「HAVE A NICE DAY」，由魏如萱词曲创作，音乐伙伴韩立康、陈建骐、黄少雍共同制作。因为希望做一首舒服耐听、让人没有压力可以反复聆听的歌曲，魏如萱与韩立康在家中讨论与宅录编曲Sample，用最贴近生活的方式一起描绘出整首歌曲的画面，最后由韩立康编曲，以合成器、电吉他、鼓组取样，完成了这首带有Lo-Fi元素的Dream Pop歌曲。 诙谐幽默感的词句创作，让累累的生活也有了共鸣，再坏的都能一笑置之。也许世界太坏，日子还有点苦，但我们仍向往好事，仍相信最糟的过去了，就能越来越好。关于生活，关于情感，每个人的生活都该有一首「魏如萱」，治愈解腻，自疗世界，听「HAVE A NICE DAY」保证痛痛飞走，眼泪掰掰，一解生活苦闷。 在今天结束之前，都希望我们HAVE A NICE DAY，往更好的地方走去，愿喜爱的你，一切都好。

"I started working on the album around two years ago without knowing I was making an album. I prefer it that way. I don't like putting the pressure of making an album on my shoulders before I start making music. When the idea of the album was born, I approached it like a label would; listening to the music I've been making recently, seeing what makes sense together. That ended up being natural for me, capturing a snapshot in time of my musical journey." Silkie 2021 'Panorama LP' 12" Vinyl & Digital 29.01.21 (MEDiLP016)

On her fourth album, Jazmine Sullivan contends with all that can be lost and gained through sex and love. She is in full command of her spectacular voice and totally delivers on an ambitious concept.

Past Inside The Present is pleased to announce Repetition Hymns, a double album from the enigmatic Black Swan. Comprised of 19 vignettes, the relatively short tracks impart a strong forward momentum despite the 80-minute runtime. Repetition Hymns is thus particularly well-suited to the temporal distortion of quarantine, in which each day feels like an endless repeating loop. Our bleeding hearts are in need of drone like never before. Repetition Hymns is composed of layers of handmade tape loops of varying lengths and pitches manipulated on multiple multitrack recorders. Sweeping sustained string crescendos evoke cinematic metaphors, but any sense of narrative remains abstract. Music is especially well-suited to exploring the malleability of time, and Repetition Hymns is slow music for slow times.