New Releases for October 27th, 2017

October 27th, 2017

Skinny Lister The Devil, The Heart & The Fight (Deluxe) 2CD | iTunes | Spotify
The Wailin’ Jennys Fifteen CD | LP
Jade The Moon Hotels iTunes | Spotify

Skinny Lister_DHF_Deluxe_SMALLThe Wailin JennysJadeTheMoon_Hotels_Cover_A (5000 x 5000 300 DPI)

GRAPELL-WHENTHEWORLDENDS-3000typhoonOhio Radio Edit Cover

Grapell When The World Ends (I Want To Be With You) iTunes | Spotify
Typhoon Floodplains: Wake / Rorschach / Empiricist / Algernon iTunes | Spotify
Madison Violet Ohio iTunes | Spotify
Beans On Toast Open Door Policy iTunes | Spotify
Maestro Fresh Wes Jurassic Park (DJ Pack) iTunes | Spotify
Downchild Something I’ve Done CD
Twiztid Nosferatu (Vinyl Tuesday) 7″
Armin van Buuren A State Of Trance Classics, Vol. 12 4CD
Elvis Perkins Ash Wednesday 2LP
Max Gomez Me & Joe LP
Siv Jakobsen The Nordic Mellow CD | LP
Jack Grunsky Theatro Muppiloo iTunes | Spotify
Good Lovelies I See Gold Spotify
Katherine Penfold Keep Christmas With You CD | iTunes | Spotify
Train Christmas In Tahoe [Deluxe Edition] CD
Jerry Granelli
Dance Hall (feat. Robben Ford, Bill Frisell, and J. Anthony Granelli) iTunes | Spotify


TYPHOON ANNOUNCE NEW ALBUM OFFERINGS

October 27th, 2017

SHARE FIRST 21 MIN. MOVEMENT OF ALBUM

CD / 2XLP PRE-ORDER AVAILABLE NOW

Offerings_AlbumArt

TORONTO, ON – October 26, 2017Typhoon have announced their new album Offerings will be released January 12th via Roll Call Records.

The band has also released Floodplains, the first movement from the album featuring the songs “Wake”, “Rorschach”, “Empiricist”, and “Algernon”.

Listen to Floodplains here.

Visit the band’s store to pre-order a limited edition (ltd. to 1000 units) tour / web vinyl variant featuring blood red vinyl and a blood red o-card.

Typhoon_Vinyl

If a Fellini film, a Bosch painting, and a Rorschach drawing had a collective sound, it would be Typhoon’s new release. The 14-track record Offerings is a musical and lyrical excursion into surreal imagery, eerie soundscapes, and an emotionally jarring narrative.

The 70-minute album for Roll Call Records, which is the Portland, Oregon indie rock band’s fourth studio album, centers on a fictional man who is losing his memory, and in turn, his sense of self. “I’ve always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don’t know where they came from? What is the essential quality of the person if you strip away all memory?” explains singer/songwriter Kyle Morton.

Motivated in part by his own preoccupation with “losing it,” Morton also found a treasure trove of inspiration through various books, art, and film he was immersed in during the writing of this record. “I was watching a lot of David Lynch, and thought a lot about the Christopher Nolan movie, Memento, and Fellini’s 8 ½. And there were a lot of books on my nightstand that played into this. It made it a much darker album for sure,” he says.

Offerings is divided into four movements (Floodplains, Flood, Reckoning, and Afterparty) to represent the mental phases the main character goes through where he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to his dreadful fate.

“I wanted this record to be a journey, like Dante’s Inferno. It kicks off with ‘Wake,’ where the character wakes up and he’s shitting the bed and doesn’t know what’s going on. I was going for a specific feel that Samuel Beckett does so well,” says Morton, who was reading Beckett’s Three Novels, specifically Malloy, while writing the song’s lyrics. “Beckett would call it a literature of impoverishment where he’d strip away as much as he could so he could get a feeling of essence and scarcity; that’s what I tried to do musically and lyrically here.”

Mission accomplished. Morton also masterfully makes a parallel with the character’s journey to the state of the world today starting with the second track, “Rorschach,” which looks at the age of information and collapse of meaning.

“But, by the third song, ‘Empiricist,’ there’s a regression to the womb where the character is back in his bed at home, talking about his range of motion shrinking. This first movement ends with ‘Algernon’ [taken from one of Morton's favorite short stories, Flowers for Algernon, by Daniel Keyes], where he’s constantly awakening and in an interrogation with a woman-who the listener should know is his wife, but he doesn’t.”

Musically, there is a sense of impending doom and chaos throughout the record that mirrors the character’s fear and anxiety. “The claustrophobic feeling of only having the present moment and this sense of repetition is musically mirrored with this looping that runs though the record with a through line of choral parts that give it a darker, creepier feel,” says Morton.

To set the right tone for the story, Morton went for a less horns, more guitar approach. “We have a little bit of trumpet on this record and a lot of string arrangements. But we really strayed away from the horn arrangements. I wanted it to be a darker, more intense rock record, so it’s very guitar-based. It’s going back to my rock roots before Typhoon,” says Morton.

The concept of what the main character in the album is going through is also meant as a way of explaining cultural memory loss. “I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven’t learned the lessons of our past, historically, we can’t recognize when elements come back to haunt us, which is what’s happening right now,” he adds.

One choral part (“Down in the floodplains waiting on a cure/ Blessed be the water/ May the water make us pure”) was especially inspired by current politics. “I had Steve Bannon in mind quite a bit when I was writing these choral parts because I’m taking on this world view that I don’t agree with, which is that the world needs a bloody struggle to reset – bring on the demolishing of order,” he says.

The character’s downward spiral continues through the album’s second movement, Flood, while in the third, Reckoning, comes the absolute-zero moment where the character is ready and willing to let go of life. Reckoning kicks off with “Coverings,” which is the first song Morton ever co-wrote with a band member – Shannon Steele, who also sings on it.  (Steele lends her vocals to the end of “Bergeron,” as well.)

“‘Coverings’ takes the story into the devil’s mansion where all the rooms are the same representing this repeated infinite present with no reference. For me, this is Hell. And, at this point, our character has lost his marbles,” he explains.

“At the same time, on the worldly scale,” continues Morton, “this is the point where we don’t have any public trust and there’s no cultural memory, there’s just chaos. People are becoming identical in this collapse of meaning and you have no reference. If there is any point to this record it’s that – Without reference, you have an interesting concept of infinity, which can be really bad.”

As the album comes to a close with the acoustic “Sleep,” the character decides that instead of taking part of the chaos, he’d rather sacrifice himself.  But there is light at the end of this dark, emotional journey. “The secret track, ‘Afterparty,’ is where he finds peace and freedom. It’s his homecoming. He’s on the other side of it now and has found his version of Heaven,” says Morton.

It’s this level of intricacy in Typhoon’s storytelling and musicianship that has helped Typhoon become one of indie rock’s most revered bands. Their previous album, White Lighter, hit No. 2 on Billboard’s Heatseekers Album Chart and got Best of The Year nods from NPR and Paste. Typhoon has brought their, at times, 11-piece live show on the road alongside indie rock peers The Decemberists, Portugal the Man and Grouplove, and sold out major clubs and venues across America.

Adds Morton of Offerings, “I kind of wanted to make a dystopian record. If it’s nothing else, it’s that. If I could write my own one-line review, I’d think I’d want people to say, ‘It’s disturbing and unfortunately correct.”

WEBSITE | TWITTER| FACEBOOK | INSTAGRAM


JORDAN KLASSEN PREMIERES HIS NEW MUSIC VIDEO FOR THE SONG, ‘DOMINIKA’ EXCLUSIVELY ON PASTE MAGAZINE

October 25th, 2017

 

CLICK HERE TO WATCH

New Album, Big Intruder, Out Now via Nevado Music

JordanKlassen 

“The choral-infused folk song harkens to Okkervil River or Sufjan Stevens. Truly, it might be one of the best new releases in the Canadian-guitar-n-stuff genre this year.”  – Noisey

“There’s a whimsical spirit about [his songs] that suggest they could veer into fantasy at a moment’s notice”. – Stereogum

[Yer Cure] “Set against a woozy psych-folk backing, it’s a true gem, and well worth exploring.” Clash

“’Carol,’ with its unusually accented piano figure and its evocative cello section, gives us a reason to stay.” – WNYC’s Soundcheck

“There’s plenty of glimmering guitar chords, sickly-sweet synth blips and lip-smacking strings. It’s a tad twee, but it warms the cockles of your heart like only rough-edged guitar-pop can.” - The Line Of Best Fit

“’Curses’ imparts a dense, looming pop sound, topped with bright melodies and vocals.” – Culture Collide

“Canadian singer-songwriter Jordan Klassen has already built up a healthy following thanks to his honest lyrics and the success of 2012’s Kindness EP.” - Paste Magazine

“Klassen takes both his emotion and imaginative insight and melds together poetic lyrics and melody into songs that are warm, meaningful and intimate.” - CBC Music

October 25, 2017 Jordan Klassen is thrilled to unveil his new music video for the song, “Dominika.” CLICK HERE to watch exclusively on Paste Magazine. “Dominkia” is off Klassen’s new studio album, Big Intruder, out now via Nevado Music.

Klassen says, “For the ‘Dominika’ video I wanted to make something that was playful like the song; silly in an honest way. We were inspired by a lot of late 80s/early 90s music videos where it felt like the artist just shot a bunch of footage of them hanging around and lip syncing.”

Big Intruder is an album about growing up and making adult decisions. The eleven tracks, which Jordan Klassen wrote, recorded and produced himself, venture away from the whimsical soundscapes of his past work and exude themes of growth and maturity, both in lyrics and sound. Klassen previously strived for a cinematic sound, avoiding drum kits but tried to embrace the idea of  ’band’ on this record. Big Intruder speaks to the dilemma of the overwhelming array of choices available in life, and the doubt and caution that become excuses to avoid commitment. The resulting songs are intimate and personal, guided by a sense of honesty and vulnerability.

Big Intruder is available at  https://itunes.apple.com/ca/album/big-intruder/id1268874944

In support of the new album, Jordan Klassen is currently on a UK tour and right after that will be heading to do some Canada dates and one day in New York. See tour dates below.

Jordan Klassen is a decorated songwriter in his own right who has spent more than a decade quietly crafting music that has been deemed ‘unsentimentally sincere’ and ‘whimsically hopeful’. He recently released his EP, Curses, which was an assembly of brooding pop songs that continue in it’s predecessor’s exploration of mental illness and hushed vulnerability since his 2016 LP, Javelin. Writing about his life experiences is one of the essential elements in Jordan’s creative process – particularly events that he had deemed as his failures.

Jordan Klassen European Tour Dates
October 25 – Utrecht, NL – TivoliVredenburg
October 26 – Zwolle, NL – Hedon KZ
October 28 – Rotterdam, NL – V11
October 31 – Brighton, UK – The Hope & Ruin
November 1 – London, UK – Camden Assembly
November 2 – Bristol, UK – Louisiana
November 3 – Manchester, UK – Gullivers
November 17 – Sarnia, Canada – Paddy Flahertys
November 19 – New York, NY – Mercury Lounge
November 22 – Montreal, Canada – Casa Del Popolo
November 23 – Toronto, Canada – The Rivoli
November 30 – Vancouver, Canada – Fox Cabaret
December 2 – Victoria, Canada – Lucky Bar
December 8 – Calgary, Canada – The Gateway
December  9 – Edmonton, Canada – The Almanac

LINKS:

http://www.jordanklassenmusic.com/
https://www.facebook.com/jordanklassenmusic
https://twitter.com/JordanKlassen
https://www.instagram.com/jordanklassen/?hl=en


New Releases from Oct. 20th, 2017

October 20th, 2017


Oasis Dig Out Your Soul CD | 2LP
Beans On Toast Taylor Swift iTunes | Spotify
Maestro Fresh Wes Jurassic Park Spotify

OasisBeans On Toast - Cushty - COVERWes and Rich Kidd - Jurassic Park

Small-World-Cover_3000x3000Moka Only_MasterDan-e-o_DearHipHop_Cover_iTunes

Def3 Small World CD | iTunes | Spotify
Moka Only Concert For One CD | iTunes | Spotify
Dan-e-o Dear Hip Hop – 20 Years Later CD | iTunes | Spotify
Chante Moore The Rise Of The Phoenix CD
GGOOLLDD The Way That I Feel iTunes | Spotify
Alex Price What You Do iTunes | Spotify
Night Drive Trapeze Artist Regrets iTunes | Spotify


New Releases from Oct. 13th, 2017

October 13th, 2017

The Rural Alberta Advantage The Wild CD | LP
The Barr Brothers Queens of the Breakers CD | LP | Limited Edition LP
Bat Out Of Hell Soundtrack to The Musical 2CD

RuralAlbertBarrBrothers BatoutOfHell

The Jerry Cans CLOUDS - Album ArtcoverSaukrates

The Jerry Cans Clouds iTunes | Spotify
The Bros. Landreth Undercover Bros. iTunes | Spotify
Saukrates Mysterium iTunes | Spotify
Sultans of String Christmas Caravan CD | iTunes | Spotify
Tech N9ne Collabos Strange Reign CD | 2CD (Deluxe Edition)
Barney Bentall The Drifter & The Preacher CD
Bepee Gambetta Short Stories CD
Teletubbies Big Hugs CD


THE PISTOLWHIPS SET TO PERFORM ROCK 102′S “REMEMBER TO GIVE”

October 11th, 2017

A CONCERT TO BENEFIT THE PINK WIG FOUNDATION AND THE SASKATOON FOOD BANK ON NOVEMBER 11 AT OBRIANS EVENT CENTRE IN SASKATOON

Pistolwhips

Saskatoon ON – October 10, 2017 – Saskatoon rockers The Pistolwhips are excited to take part in Rock 102′s “Remember to Give”, a concert to benefit The Pink Wig Foundation and The Saskatoon Food Bank on November 11 at OBrians Event Centre. To commemorate Remembrance Day, they will also be donating $500 to The Royal Canadian Legion.

The Pistolwhips are proud to be the headliners of this amazing community event in support of two amazing charities! “When we first started out in Saskatoon, we always partnered with charities, and lately we’ve been feeling the need to get back to that. Our community is there for us, now we get the chance to give back, and show them that the artists in Saskatoon, and from out of town, believe in giving back whenever they can.” says lead singer Rylan Schultz.

Nominated for Planet S Band of the Year, The Pistolwhips will be joined by League of Wolves, HighKicks, Honest Hearts Collective and Anna Haverstock. Sponsored by Momentum, Molson, and Southern Comfort, this event is a chance for music fans to enjoy a full night of live music, while knowing proceeds from the show will support these great causes.  There will be more announcements about this show in the coming weeks. With the show on Remembrance Day, it is an opportunity to show our pride and support for our service men and women across the country – those wearing a poppy that evening will also get a chance at some exclusive prizing.

Tickets are on sale now at https://www.myshowpass.com/l/2146469f/ for $20.00. Non-Perishable food donations will be accepted at the door, and with each donation, names will go into a draw for thousands of dollars worth of prizes to be given out throughout the evening.

Most recently The Pistolwhips released sophomore album Voices that has made waves across the country and has seen more than 40k streams on Spotify. Listen here.

WEBSITE || TWITTER || FACEBOOK|| INSTAGRAM


KELELA RELEASES DEBUT ALBUM

October 6th, 2017

ANNOUNCED AS COVER STAR FOR THE FADER’S PARADISE ISSSUE

HEAR TAKE ME APART NOW 

VIA WARP RECORDS

Kelela#2

Kelela by Daniel Sannwald

HEAR: Take Me Apart -

http://kelela.link/TakeMeApart 

TORONTO, ON – October 6, 2017 - Today, Kelela is releasing her debut album. The highly-anticipated Take Me Apart is available now via Warp Records, and is currently sitting at #1 in the iTunes Canada and US R&B/Soul Charts.

Earlier this week, Kelela was announced as the cover star of The FADER’s Paradise issue. She also debuted “Waitin” on BBC Radio 1 where the track earned ‘Hottest Record’ honors. Later she was interviewed by Ebro for his Beats 1 show where she dropped “Blue Light,” listen to the interview here.

On September 24th, Kelela performed at the iconic Hollywood Bowl alongside friends and fellow artists Solange, Blood Orange, Moses Sumney, KING, and Kelsey Lu. On October 25th she will kick off a lengthy tour, playing shows across North America through November before heading to Europe for a slew of dates that will conclude in December in Amsterdam with tickets available here. Shows in San Francisco, Oakland, Toronto, New York, Minneapolis, DC, and London have already sold out with many more on the verge of doing so.

Hear Take Me Apart in its entirety above, and see below to watch the previously released video for “LMK,” find full tour routing, and read more about Kelela.

WATCH: “LMK” -

http://www.youtube.com/watch?v=ePi5BLJogyA

- – - -

What the press is saying:

“Kelela’s ‘Take Me Apart’ Is R&B That’s Intimate Inside and Out… Desire and distance, heat and cool course through…. It’s a digital phantasm, a matrix of synthetic sounds enfolding countless tracks of Kelela’s vocals. Yet for all its electronic metamorphoses, the goal it achieves is intimacy, as Kelela whispers and coos about all the shifting modalities of getting close to someone. She makes sure that virtuality leads back to physicality.” -

- NY Times

“Take Me Apart’ is a patiently constructed monument to romance and restlessness”

- The Ringer

“”LMK” with its murmuring bass tones and gurgling synth melodies, is like a scrambled text that Prince has sent us from beyond the grave. Closing track “Altadena” is probably the most purely gorgeous thing that Kelela has ever sung, like something that some faraway society might beam back to us if all it picked up on intergalactic radio waves was SWV and ’90s Michael Jackson… such a towering achievement of an album” – Stereogum

“Kelela’s debut album is technically stunning and emotionally realized. It lives in a new, outré, rhythmic pop galaxy that honors but outpaces its peers.” – Pitchfork Best New Music

“Kelela’s ‘Take Me Apart’ Is The Definition Of A Breakthrough Album” - NYLON

- – - -

Tour Dates:

10/25 – Santa Barbara, CA @ SoHO
10/26 – Los Angeles, CA @ El Rey Theatre
10/28 – Los Angeles, CA @ Camp Flog Gnaw Carnival
10/29 – San Francisco, CA @ The Independent (SOLD OUT)
10/30 – Oakland, CA @ The New Parish (SOLD OUT)
11/1 – Portland, OR @ Hawthorne Theater
11/2 – Seattle, WA @ Neumos
11/5 – Minneapolis, MN @ 7th Street Entry (SOLD OUT)
11/6 – Chicago, IL @ Promontory
11/7 – Detroit, MI @ El Club
11/9 – Toronto, ON @ Velvet Underground (SOLD OUT)
11/10 – Montreal, QC @ Belmont
11/11 – Cambridge, MA @ Middle East Downstairs
11/12 – New York, NY @ Bowery Ballroom (SOLD OUT)
11/13 – New York, NY @ Bowery Ballroom (SOLD OUT)
11/15 – Philadelphia, PA @ Coda
11/16 – Washington, D.C. @ U Street Music Hall (SOLD OUT)
11/17 – Durham, NC @ Motorco Music Hall
11/18 – Atlanta, GA @ Masquerade (Hell Stage)
11/20 – New Orleans, LA @ Gasa Gasa
11/21 – Houston, TX @ White Oak Music Hall Downstairs

11/27 – Manchester, UK @ Gorilla
11/28 – London, UK @ Heaven (SOLD OUT)
11/29 – London, UK @ Heaven (SOLD OUT)
12/1 – Paris, France @ Gaite Lyrique
12/2 – Antwerp, Belgium @ Trix Club
12/7 – Berlin, Germany @ Berghain
12/9 – Stockholm, Sweden @ Debaser Strand
12/11 – Copenhagen, Denmark @ Pumpehuset
12/12 – Hamburg, Germany @ Uebel & Gefährlich
12/13 – Amsterdam, Holland @ Tolhuistuin

1/13 – Melbourne, AU @ Sidney Myer Music Bowl (w/ The xx)
1/13 – Brisbane, AU @ Riverstage (w/ The xx)
1/13 – Sydney, AU @ The Domain (w/ The xx)

About Kelela:

With great anticipation, Kelela’s debut album emerges as an epic portrait of an artist spanning the past and future of R&B. In her hands, however, the genre knows no boundaries and so Take Me Apart exists as an absolutely singular and fearless addition to a canon of recent classics. From her very earliest work, honesty and vulnerability have been cornerstones of Kelela’s art – even when clad in the armor of the avant-garde electronics she so deftly inhabits – and Take Me Apart sees her double down on both the emotional intensity and resonance of her message as well as the sonic seeking she is renowned for.

On 2015′s acclaimed Hallucinogen EP, Kelela swept listeners along in the rush of ecstasy and the melancholic vapor trail of a hopeful, but ultimately doomed liaison. Hallucinogen would prove to be a turning point, and The New York Times would name it’s single, “Rewind”, one of the “25 Songs That Tell Us Where Music Is Going”. The EP’s oversized impact would ignite a period of kinetic worldwide live shows culminating in Kelela crisscrossing the globe on tour with The xx. In parallel with this, 2016 and early 2017 would see Kelela grace a handful of crucial records as a feature vocalist – from longtime ally Solange’s majestic A Seat At The Table, to Danny Brown’s immense Atrocity Exhibition and most recently, the star-studded Humanz from Gorillaz.

These appearances would be tantalizing signs leading the way to Take Me Apart. Amplifying the ideas explored on Hallucinogen, here Kelela treats relationships and their effects like a Matryoshka doll, unveiling layer after layer to find herself at the center. Expressing an honest vision of how we navigate dissolving ties with each other and yet remain sanguine for the next chance at love,the emotional ricochet is traced across the album’s narrative. Take Me Apart stands not only as an intensely personal chronicle, but also a defiant and turbulent statement direct from Kelela; “Despite it being a personal record, the politics of my identity informs how it sounds and how I choose to articulate my vulnerability and strength. I am a black woman, a second-generation Ethiopian-American, who grew up in the ‘burbs listening to R&B, Jazz and Björk. All of it comes out in one way or another.”

The process of crafting Take Me Apart embraced the approach of widely collaborative R&B, hip-hop and pop production while roaming a strange and wonderful path. Working with a cast of peers, Kelela deconstructs many results of their collaborations and builds them back up into pieces of a cohesive whole, effectively orchestrating these multitudes in aid of her singular vision. “It’s this tapestry I’ve knitted together that attracts different types of listeners and challenges them at the same time, often within the same song. That’s what I want to bring to my entire catalogue” says Kelela. Testament to this approach, the album opens with a stunning trio of high points from the low-slung mechanized swing of ‘Frontline’ to the kaleidoscopic splendor of ‘Waitin’ – by which point you’ve been pulled straight into the tale Kelela is weaving, and the warped and chaotic beauty of the title track before dropping into ‘Enough’ which sounds as if it could have been transmitted from a neon-lit jazz club in Akira’s Neo-Tokyo.

The timeless, zero-gravity ballad ‘Better’ sees Kelela at her most unadorned – baring her soul to a nameless other over subtly transforming piano and synth textures while first single ‘LMK’ is all staggering club swagger that manages to span the past 20 years of innovative R&B while still exploring another dimension of possibilities. These songs typify the melding of classic song-craft and inventive production approach at the album’s core, but it’s here where things take yet another exhilarating turn. ‘Truth or Dare’ has the brittle snap and vocal twists of a Neptunes track while ‘Blue Light’ sees Kelela weld her sweeping pleas to the warped sonic palette of Grime, pointing the way forward to a possible future of cybernetic soul.

Now we are swept into the slipstream of a pair tracks in ‘On And On’ and the otherworldly grandeur of ‘Turn To Dust’, which conjures images of the powerful and iconic diva of Besson’s The Fifth Element; and it’s a short trip to the unforgettable pneumatic gospel of album closer ‘Altadena’, a perfect uroboros link back to ‘Frontline’ to begin the saga all over again. At this point you’re left with the feeling that this trip through Take Me Apart is one you’ll be making many more times.

Kelela2

Kelela

Take Me Apart

October 6, 2017

(Warp Records)

1. Frontline
2. Waitin
3. Take Me Apart
4. Enough
5. Jupiter
6. Better
7. LMK
8. Truth Or Dare
9. S.O.S.
10. Blue Light
11. Onanon
12. Turn To Dust
13. Bluff
14. Altadena

 

 


New Releases from Oct. 6th, 2017

October 6th, 2017

Kelela Take Me Apart CD | LP 
The White Buffalo Darkest Darks, Lightest Lights CD | LP | iTunes | Spotify
B•R•A•U•N Silent Science iTunes | Spotify

Kelela2 TWBDDLL BGÇóRGÇóAGÇóUGÇóN_Silent Science (Album art by Jack Vanzet)_3000x3000

Dan-e-o_DearHipHop_Cover_iTunesCCL Twins Single Cover (1)ObjectCollection

Dan-e-o Dear Hip Hop – 20 Years Later iTunes | Spotify
Cloud Castle Lake Twins iTunes | Spotify
Object Collection It’s All True CD | LP
Billie Holiday The Best Of Billie Holiday 3CD
Prime Time Big Band Live At The Ironwood CD | iTunes| Spotify
Larry Conklin & Jochen Blum Jackdaw LP
Matt Patershuk Same As I Ever Have Been CD
Mac McAnally Southbound: The Orchestra Project CD
Various Artists Diva Jazz – Female Jazz Singers to Inspire You Spotify