Nearly 20 years since they first began, there are few bands who've created a canon as determinedly innovative and consistently critically acclaimed as The Horrors. They're musicians who'll funnel everything they are into the process, at the expense of health, wealth and sometimes sanity. And so, whilst sixth album Night Life sees the band once more shapeshift into a new form with a new sonic outlook and - this time - a new line up, in some ways The Horrors are still as they ever were.

Although they're becoming less dissonant and more direct than they were on their eye-opening, self-titled mini-LP debut, and truth be told, they sounded more interesting as an all-female Boston trio before they added a (male) second guitar (the economy of Judy Grunwald's simple parts seemed to fit Beth Kaplan's lead bass parts much better), this is still the hoped-for overwhelming success fans believed was possible. The main strengths are the feminine harmonies, floating between the two ladies named above among superb melodies and fragile, haunting lyrics. Few bands could ever lay their emotions on the table with the degree of alarming frequency as we see in "Carry a Torch" (the really worrisome question to ask a lover about an ex: "Does she still carry at torch for you?" – and if the answer is yes, well, how about you too?). "Across the Sea" carries a similar but very different ache of separation, one common to bands that tour too much perhaps, and "Playground" seems fraught with concern more than any childlike romp. And good to see they finally recorded their longstanding cover of Wire's modest Pink Flag pop single masterpiece, "Fragile." An experience as much as an excellent record.

There are poets like the great Mary Oliver, who might suggest that one’s primary function when moving through the world, for as long as they have life and the ability to move through the world, is to play close attention to that which others may foolishly call small, or quotidian. The brain and heart are both containers, with as much space as you wish for them to have, and to live is to create collections of found affections. Sounds from your beloved and familiar blocks, movements of the trees and the people beneath them, the way someone you adore may hold you for a few lingering seconds before releasing from a hug and vanishing into a crowded crosswalk. To think of our living, our making, and our loving in this way means that, at least for some of us, we may be propelled forward by the prospect of what’s next. What moment we can hold and place in our overflowing pockets.

Gaia torna con un nuovo progetto discografico, "ROSA DEI VENTI", in uscita il 21 marzo per Columbia Records / Sony Music Italy, in formato CD Autografato e LP marmorizzato Autografato in esclusiva per sony music store. L'album contiene il brano in gara a Sanremo 2025 "CHIAMO IO CHIAMI TU",

Tommy Emmanuel played two spellbinding shows on the Concert Hall stage in May 2023, with the best of both performances represented here. There is something truly magical about the Sydney Opera House, and the magic of his sold-out performances there has finally been captured on this new album.

Peng blew the music world away with her 2019 state-of-grace performance in the Colors studio, and she has been busy ever since. Collaborations with the likes of Lee Perry and Nightmares On Wax, and a superb debut album, Man Made—with a piano tuned differently to industry standards—has proven that Peng is not here to become just another disposable consumer product. For her, music takes on a form of healing; during a very dark period she almost gave up singing, before rediscovering her voice on Mexico's local stages. And so her second LP offers an introspective journey, as it recounts a period of personal transition. On Tell Dem It's Sunny, Greentea Peng, still accompanied by her backing band The Seng Seng Family, has put her shoulder to the wheel more than ever before, even playing bass on several tracks. We hear soul, dub, hip-hop and electronic music, so much so that if someone were to tell us that this record had been produced in Bristol during the '90s, we’d think nothing of it, thrown off by the urban soul vibe of tracks like "TARDIS (hardest)," "Green," or "Raw." Ultimately, Greentea Peng proves that when you put your heart and soul into your music, it rings through enormously. © Smaël Bouaici

Their tenth studio album, Bird in Paradise via BMG Australia includes recent dance-floor filler ‘La Gracia’. "When we set out to make the album Bird in Paradise, we wanted to make a more musically rich album than we had before, which featured the band instrumentally like never before."" - Ollie “Musically speaking, Bird in Paradise is an Australian - Flamenco, Afro-Cuban project. We've drawn from the themes of contemporary flamenco and Cuban music, and combined it with the grit, and toughness of Aussie rock history."" – Felix.