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Powerhouse vocalist Alanna Royale and her band
bring some sides that burn like a piece of that
famous Nashville hot chicken. A-side 'Go' will light up
the output meters on many a DJ mixer, from the
opening hits to the sinewy bass line snaking around a
rhythm section that is bound to make a body move.
B-sides are ever so often the hidden gems, and on
this 45, 'I Know' is bound to have a big share in the
fans of this release. Foreshadowing the forthcoming
groove, the Motown-esque entrance drum fill opens
the door and then the horns step in and never leave
the room. Produced by Kelly Finnigan and mixed by
the team at Transistor Sound we are pleased to have
this release join a growing list of fine recordings from
the Transistor Sound label.

Cover closer to NM. Without CD

Alex Cameron's newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron's flair for narrative and character are still on full display; yet Miami Memory's most frequent narrator is, for the first time, Cameron himself - singing with stunning candor of his three-year relationship with visual artist and actor Jemima Kirke. ''When you listen to these songs, and you're waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,'' says Cameron. ''These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex positivity with contemporary family values...It's my gift to Jemima, a symbol to hoist on the totem of love.'' Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Bjork, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ. Cameron's dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular ''stepdad'' rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship with Kirke, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet - but also where constricting mores have deteriorated enough to let ''family life,'' in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute to sex positivity, female empowerment, family and responsibility, and, to his love, Jemima.
1. Stepdad 2. Miami Memory 3. Far From Born Again 4. Gaslight 5. Bad For The Boys 6. End is Nigh 7. PC With Me 8. Divorce 9. Other Ladies 10. Too Far

It’s been five years since Andreya Triana released her debut Lost Where I Belong, produced by Bonobo.

The soulful Londoner returns now with her highly anticipated album, produced by Matt Hales (Lianne La Havas, Paloma Faith).

“It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey
to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really
wonderful where you reach that time of having more good days than bad.”
That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive
and heartfelt work to date; a record that celebrates love, freedom, independence and
womanhood.
“‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space.
Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just
wanted to put some good energy out there.”
The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop
anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from
memories of heartache and trauma to triumph.
“You know when you’re feeling so uncomfortable in yourself and you just want to be
swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving
on from being a victim to a place of strength, to feeling like a superhero.
“Anyone who has gone through difficult times like I have, should know that it’s absolutely
possible to get to a good place. It doesn’t define who you are or your future. You have to
fight like hell every day to move forward but anything is possible. We’re all full of so much
goodness. Don’t lose sight of that.”
The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life
and the many sacrifices that women make day-to-day, generation after generation.

Pixel Passion is the album I've been wanting to create ever since I began writing electronic music. It's my love letter to 80s synth music and early 90s video game culture. I wanted to imprint an original sound that would be my own and create nostalgic imagery in the listener without any pretense. It's been a long and very rewarding 8 months. I hope you enjoy! Extras: cut-out sleeve with printed inner-sleeve, flood print

Der Soundtrack von "Days of the Bagnold Summer" beinhaltet 11 brandneue Belle & Sebastian Songs, aber auch den neu aufgenommen Hit "Get Me Away From Here I'm Dying", der im Original vom 1996er Album "If You're Feeling Sinister" stammt. Mit "I Know Where The Summer Goes" befindet sich ein weiterer Klassiker auf dem Album."Days of the Bagnold Summer" erschien 2012 als preisgekrönteàGraphic-Novel von Jeff Winterheart. Nun wurde sieàvon Simon Bird (The Inbetweeners, Friday Night Dinner) als abendfüllender Kinofilm inszeniert. Mitgespielt habenàu.a. Monica Dolan (Eye in the Sky, The Falling, Pride), Earl Cave (The End of the F***ing World) sowie die Autorin undàRegisseurin Tasim Greig (Prevenge, Sightseers).à"Days of the Bagnold Summer" ist ein berührend komische Comimg Of Age-Geschichte über einen Metal-Fan, dessen ursprüngliche Pläne für die Sommerferien ins Wasser fallen. Stattdessen muss eràden Sommer mit der Person verbringen, die er am meisten nervt: seiner Mutter!

Dark Entries is proud to release the latest offering from Bézier, a 3-track EP titled ‘Primes’. Bézier is the moniker of San Francisco based musician Robert Yang, who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances.

‘Primes’ represents the theme of primordial origins and creation with three tracks that explore disparate, sonic environments in each song. The title track flows and ebbs like currents in an oil slick. Out of something messy (like primordial ooze) arises organized chaos. “Stranger” is a moody dark electro/wave track for a sweaty night cruising on the west coast of Holland. Set against an underwater sound canvas the song features seductive guest vocals and lyrics by Nicole Ginelli. Doc Sleep of Jacktone Records provides additional production duties. The final track, “Imperial Tranz Am”, is an airy, ethereal slow burner clocking in at over 13 minutes. It originally appeared as the soundtrack to an experimental queer fantasy film of the same name by SF film maker Aron Kantor.

All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a Quadtone pastel earthtone of pixelated celluar ooze designed by Eloise Leigh. Each EP includes a postcard with an image still from the ‘Imperial Tranz-Am’ movie. “Do I hear what I see, is it real or just a feeling, a vibration of N-R-G.”

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris. “Krampfhaft is someone I have been listening to for few years adoring his hyperbeauty, orchid techno I nickname it in the
vein of plaid and others: brave enough to take joy on in the often rather apocalyptic
environment of electronic music” - Björk. “I was very honoured to be part of this, although it was a pretty daunting task to
rework a song with such an intimate topic! As the original is very stripped down, all
I could think of doing was adding in [even more] tension and drama. So I layered the
whole track on to a bed of heavily compressed cloth movement and gradually built up
the tension from there.” - Kramphaft

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris. “Mica is someone I have been following growing since 2008, like a proud aunt, I might even have been at her first concert? Sooo exciting to witness her grow into a full on composer and carry the weight of such things as ‘Under The Skin’... And I still adore her upbeat stuff withTirzah too !!!” - Björk. “I did a karaoke version more than a remix, because I love her string arrangements
and thought it would be an opportunity to draw attention to them. I hope Björk isn’t
offended that I took her voice out, [but] you can hear it in your head - or sing
along.” - Mica Levi

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris.“Lotic is the one of the first musicians Alejandro introduced me to in Autumn 2013 with piles of enthusiasm: I got immediately obsessed enjoying how always total nature he was!! The most clublike flamboyant anthems of his always seem like shrieks of beasts, dark insects and pagan birds displaying their feathers in a territorial way: a colourful celebration!! The reason why I asked him to do ‘Notget’ was there are certain suspension-like elastic gravitydefying beat structures that him and Alejandro share (each in their total idiosyncratic way though) that Notget has and I had a gut feeling he would take further. Which he did.” - Björk. “When Björk sent over the original track to review late last year, I couldn't believe how well she had intuited that ‘Notget’ was the perfect selection for me. Perhaps it was a bit of coincidence, but I was very much still tending to the scars left from my previous relationship while at the same time nurturing my current one. ‘Notget’ is both the mourning and the eulogy; I knew this meant remixing the song would be difficult, both technically and emotionally. In the end, I felt I had to attempt to amplify both the desperation the song expresses as well as the inspired, reminiscent joy.” – Lotic

The internationally celebrated artist, award winning singer and composer Camille releases ‘OUÏ’ her fifth studio album and first for Because Music on June 2nd. Recorded over a year in La Chartreuse, a 14th century monastery-turned-artist’s residence in Avignon, France ‘OUÏ’ is a cornucopia thrumming with folk, hymns, ballads, pop, lullabies and breathtaking a cappella. “The story of the album is like this, moving from the arcane drums” - percussion is used throughout as the bedrock - “to the treble and harmonics and light in my voice.” An instrument of exhilarating range and phenomenal power, Camille’s voice provides all the vocal parts on ‘OUÏ’. “All the voices are telling a story,” she says, “and I am all the voices. Co-produced by Camille with two of her longtime collaborators, composer and multi-instrumentalist Clement Ducol and sound and mixing engineer Maxime Leguil, and featuring the versatile Moog analogue synthesiser, ‘OUÏ’ is a work with a pulse. “It really resonates,” says Camille, “On some songs there are no drums, just this sub-bass like a kick drum, which leads the way and gives it a beat.” While she sets out to write politically charged songs inspired by drum-driven French traditional dances, that reflect upon the country’s recent, tragic events, she was equally led to something peaceful, vowel-oriented and vibrational in her exploration of sound. The latter explains the album’s title, ‘Oui’ - ooo…eee - a playfulness with sounds and language, a breaking free from its oft imposed restrictions.

In 2014 Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim and massive fan support. Now Caribou returns with his seventh studio album Suddenly, an album about family and the changes we go though as those relationships evolve.
Suddenly is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolour, this album is littered with swerves and left turns, and amazes with it’s yet unheard nuances, samples and hooks.
As Snaith puts it, “these albums are like photo albums for me – when I look back at the old ones, they’re a snapshot of my life at that time, full of people who are close to you”. This is the drive to continue to make Caribou albums. Full bodies of work where Snaith is able to evaluate things, look at those around him and celebrate them. As his passion and joy in music making remains as fresh as ever, Suddenly is the purest example of this yet.

Her second full-length album, Look Up Sharp , on her own Kallista records. Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (2016) and The Garden EP (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look. In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work as on 'Took A Long Time' and 'No Trace.' These contrast with songs like 'I'm Conscious and 'So Much better' that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like 'Fast Moving Cars.' The B-side begins with the feverish bass and meandering melody of 'Don't Follow Me,' which takes The Cure's 'A Forest' as its conceptual springboard. It's the clearest lyrical example since 'The Garden' of dal Forno's unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with 'Push On' - dal Forno's most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. The album's last gasp finds personal validation in fragility: 'I push on / I'm the Place I'm Going,' a self discovery lifted by reverberant broken beats and glass-blown...

Since the release of Solo Piano II, Chilly Gonzales composed the best-selling
book of easy piano pieces Re-Introduction Etudes, produced and released Octave
Minds, the piano-meets-electronica album with Boys Noize and, most
importantly, devoted himself to finding a modern take on chamber music.
The result is "Chambers", an album for piano and string quartet (and a few
surprises along the way). Inspired by the deepening relationship with Hamburg's
Kaiser Quartett, the album re-imagines Romantic-era chamber music as today's
addictive pop. Gestures from rap, ambient, easy listening and the avant-garde co- exist as always in Chilly Gonzales’ musical universe - this time with strings
attached.
Known equally for his intimate piano touch as for his showmanship, "Gonzo"
aims to be a man of his time, approaching the piano with classical and jazz
training but with the attitude of a rapper.
Chilly Gonzales holds the Guinness world record for the longest solo concert at
over 27 hours. He performs and writes songs with Jarvis Cocker, Feist and Drake,
among others. In 2014 he won a Grammy for his collaboration on Daft Punk’s
Best Album of the Year. With "Never Stop", Chilly Gonzales composed a global
hit for the inaugural Apple iPad campaign.

Cititrax is excited to present the first in a series of 4 song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume One features Amato, an edgy new project brought to you by The Hacker, Tzusing, a young producer from China known for his hard-hitting L.I.E.S. releases, our beloved Berlin based former New Yorker An-i, and Oliver Ho’s stunning Broken English Club. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor. Artwork designed by Veronica Vasicka and sourced from Polaroids shot in NYC clubs in the 1980s.

After a series of cassettes and one self released CD Così e Così has honed the dense and gritty textures of his deconstructed pop forays and sound experiments into a collection of poetry awash in subdued synths, bending tones, and sometimes frantic rhythms. Its efforts to dissect the constructs of time to overcome fleeting ideals in life and love make 'Impermanence In The Time Of Heavens' at once far-reaching and overwhelming, yet cathartic; a romanticism for an era of fragmented identities.

Music and extended poems throughout IITTOH sample from Vincent’s personal audio and lyrical collections dating back to 2004. Reworking the same loop in nearly every song until it's unrecognizable, and referencing other passages within, creates a work cut and scattered, yet bound by repeated motifs and moods of memory, loss, and rebirth. Recorded primarily in a log cabin in Manitoba, Canada, IITTOH was also recorded on a deserted beach town in Montenegro and a lakeside apartment in Macedonia, and completed in Montreal, Canada.

The vinyl version of Spirit will be released on two 180 gram LPs, featuring the standard album and a special Spirit etching on the 4th side. All artwork and photographs accompanying the album are by Depeche Mode's longtime creative collaborator and renowned filmmaker Anton Corbijn.

Spirit marks the band's first collaboration with producer James Ford of Simian Mobile Disco (Foals, Florence & The Machine, Arctic Monkeys) and serves as the follow up to the band's blockbuster 2013 album Delta Machine which debuted at #1 in 12 countries. Says Gahan of the release, "We are exceptionally proud of Spirit, and we look forward to sharing it with everyone. With James Ford and the rest of the production team, we've made an album that I believe is truly powerful, both in its sound and its message."

The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.
Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form. As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.
Emika is on a quest to try and change what we mean when we talk about ‘classical music’. For her, the magic of the ‘genre’ is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself. I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops.”

vinyl is close to NM. tiny wear

UK National Album Day Limited Release.
Always & Forever is the debut studio album by British girl group Eternal. The album achieved six top 20 singles, two of which reached top 5 - "Stay" and "Oh Baby I...". Always & Forever was a huge success, peaking at number 2 on the UK Albums Chart, and was later certified 4× Platinum by the BPI for sales of over 1.2 million copies. The album spent over 76 weeks in the charts.

»The Room«, Fenster’s fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, »The Room« serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation—within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop. […]

Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.« […]

—
All songs written and played by Fenster.
Recorded at Redroom Studios in Vecchiano, Italy.
Mastered by Josh Bonati in New York City, USA.
Album artwork and design by Lucas Ufo.

Black Friday Record Store Day 2022 Reissue. Color: Gold. Limitation: 3500.

Not since Ray Davies has a songwriter been able to craft such sharply observed vignettes in the space of a three-minute pop song like the late Adam Schlesinger. And on 2007’s Traffic and Weather, Fountains of Wayne’s fourth album, Schlesinger took his art to a new level, singing short stories as varied as crushing on a DMV clerk (“Yolanda Hayes”), celebrating the sexiness of a car not generally considered sporting (“92 Subaru”), being broke (“Strapped for Cash”), and having luggage lost by an airline (“Michael and Heather at the Baggage Claim”). And while it lacks a radio-friendly hit like “Stacy’s Mom”—it should be mentioned that Chris Collingwood only contributed three songs to this record—there are still earworms aplenty, particularly on “I-95,” Collingwood’s “Seatbacks and Traytables,” and the title tune. Finally out on vinyl, our Real Gone release comes with a printed inner sleeve featuring lyrics and in a gold with black swirl pressing limited to 4000 copies, exclusive for Black Friday!

Side A:

About the album, G says: "I thought about releasing my own album a lot growing up. I would sit in the lounge room holding Dad's record collection in my hands in awe. I was intrigued, I wanted my own. It's a big moment, I'm super stoked to drop my debut. Some of these songs I've had for years and it's time to get them out. I'm excited for this step to be accomplished and to tick it off the list. I'm pretty excited for what's to come next too..."

Produced by Jesse Mac Cormack & Helena Deland
Engineering and Mixing by Jesse Mac Cormack

Alexandre Larin - Guitar
Francis Ledoux - Drums

Artwork by Crystal Zapata

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters.

Bongo Joe calls this "trans-pop-kraut". More infos are on the way.

In May of 1966, the unknown singer Jack Wood recorded two songs at Great Lakes Studio in Sparta, Michigan. These unique, otherworldly songs “Born to Wander” and “So Sad” would be self-released by Wood on his own Lawrence Records imprint in an edition of 100 copies. Going nowhere and being quickly forgotten, it would take Wood ten years to pay back the $250 he borrowed for the entire endeavor. Fast-forward to the 21st century and the deepest of record collectors are intrinsically moved by the power behind Wood’s single, vacillating between Northern Soul, garage, big band and country music all within the same song. An unexpected placement in a major ad campaign for Bacardi Rum was a major boon for the burgeoning awareness of these timeless songs.

Third Man Records is proud to reissue “Born to Wander” and “So Sad” as part of its return to Detroit.

Watch the Barcardi commercial: https://youtu.be/Ogs6uD4xlNY

Manufacturer: United Record Pressing

TRACK LISTING:
A. Born to Wander
B. So Sad

Jessie Baylin returns with a Deluxe Edition of Strawberry Wind, an album that delivers on a promise Baylin made with herself: to create an honest record for kids and parents alike. With three new tracks added to the vinyl release, the album delightfully expresses a childlike sensibility through tracks overflowing with an excitement for life that speaks well to children. Weaving through lyrical themes of dream life, supermoons, and summertime vibes, there are also some gentle doses of reality on Strawberry Wind. “I don't want to lie to my kids. Life can be hard sometimes, and you need to find a way to deal with it,” says Baylin. “There will always be things in life you can't control, but you can dream of a better world and make your own refuge." She continues, “I wanted it to feel magical and remind people of the child inside of all of us that is filled with a sense of wonder, pure joy, and hope.”

Alone in the world, we find ourselves. Inside ourselves, we find something to share with the world.

The Essential John Moods, a solo album in all senses of the word, is what Jonathan Jarzyna of Fenster found in himself during a summer spent hiking along the Iberian coast, and he now wants to share it with you. A mini-guitar on his back and a copy of GarageBand on his phone allowed Jarzyna to record songs each evening as he arrived in a new town after a long day traveling by foot. (He did, admittedly, add live drum tracks and some additional instrumentation back in Berlin.) The album preserves this peripatetic feeling, each song relating to the next as one city or village relates to its neighbor, its unique situation contrasting with the shared architectural vernacular. Blipping instrumental interludes (“Trainride,” “Pontevedra,” “Coastal Way”) even capture the disordered, delirious feeling of transit hubs and the sleep-bleared mystery of waking on an unfamiliar road.

“I just came alive completely” are the first words Jarzyna murmurs on “New Spring,” invoking the spirit of the album. He speaks not of the liveliness of manic activity, but the heightened, tender sensitivity of presence. It’s a fullness of living captured by the transition from the lush, jangling groove of “The Weight” to the spacious contemplation of “Pawns.” The dreamy echo of the 60s’ and 70s’ soft rock and folk troubadours suffuses the album, and the organ-soaked “Where In The World” even has a psychedelic tinge. But the overall effect is quite contemporary, from the back-of-the-nightbus lounge funk of “Take It Home” (featuring an amazing turn from arch-crooner Sean Nicholas Savage) to the mournful cupboard jazz of “Almost Gone.” “Dark Wall” sounds like a honkytonk ramble alongside a robot tentatively learning to play lap steel. “Leap of Love,” an early album highlight, passes over the listener in shimmering waves, a love song which remains a mystery even to its creator.

In the meditation tape coda “Relax Your Foot,” Jarzyna selects the perfect sample to encapsulate The Essential John Moods’ hopeful receptivity: the late Professor Carl Sagan reminding us that “despite our limitations and fallibilities, we humans are capable of greatness.”

2019 release from renowned mezzo-soprano Joyce DiDonato. Songplay is sure to delight not only listeners of opera, but listeners of jazz and tango as well. The album brings together musicians from numerous genres, hand-picked by DiDonato in a band led by pianist and arranger Craig Terry. Among them are bassist Chuck Isreals, drummer Jimmy Madison, Lautaro Greco on the bandoneon, and trumpeter Charlie Porter. Joyce DiDonato greets you with a song in her heart and twinkle in her eye. The American mezzo-soprano's album Songplay unites world-class musicians from the varied worlds of opera, jazz and tango in the pure pleasure of improvisation, experimentation and exchange. Together they create their own musical language, surprising listeners with timeless melodies transformed and universal stories retold over centuries; songs in English, in Italian and - naturally - in the universal language of music. On Songplay, along with her hand-picked band led by pianist and arranger Craig Terry, Joyce draws inspiration from Cavalli and Chet Baker in equal measure. The languishing heart in Giordani's Caro mio ben is as emotionally charged as Jerry Bock's hopeful Will he like me?. Perhaps the most compelling reminder of how the music of Songplay breaks down divides is from DiDonato's experience leading vocal and composition workshops in the New York prison Sing Sing, where one of the men who is incarcerated was particularly moved upon hearing her rendition of Caro mio ben: 'I feel like I've known this song my whole life.'

Clear vinyl. Original inner sleeve. with hype sticker. cover is close to NM

This album comes in a gatefold cover with a download card.