Self Make up 2024

This disc includes many tracks new to CD, some of the biggest Reggae stars of the era and many of the finest Roots Reggae tracks of the 1970s. When 1976 came along, Niney The Observer was widely seen as one of Jamaica’s finest producers on the island’s music scene. Niney worked with many top Reggae artists, including Dennis Brown, Ken Boothe, Denis Wilson, Junior Byles, Big Youth and Max Romeo. Niney’s reputation as a producer came with his ability to be a man of the people. This 2CD collection comes with Niney’s finest productions from the golden age of classic Roots music and featured we have Gregory Isaacs, Cornel Campbell, Junior Byles and Horace Andy amongst others. Many of the tracks have not been heard widely for almost 50 years.

Elvis Presley belongs on the short list of artists who changed the course of popular music in the 20th century. He may not have invented rock & roll, but he was indisputably its first rock star, a singer whose charisma was tightly intertwined with his natural talent for a combination that seemed combustible, sexy, and dangerous when Presley seized the imagination of America with four successive number one singles in 1956. He spent the next two decades near the top of the charts, weathering changes in fashion, self-inflicted missteps, and comebacks as his music expanded and evolved.

Delirium Musicum is a self-conducted, ethnically diverse chamber orchestra dedicated to providing impassioned and engaging musical performances that deeply connect audience and musicians.

Delirium Musicum is a self-conducted, ethnically diverse chamber orchestra dedicated to providing impassioned and engaging musical performances that deeply connect audience and musicians. Influenced by the bustling artistic mosaic of LA, the group applies dazzling creativity and limitless excitement to their performances that are enjoyed by a fast-growing audience.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

Earlier this year, St. Vincent’s Annie Clark released All Born Screaming, an album which managed to capture the absolute clusterfuck of emotions that make up being alive in the year 2024 in a compact 10 songs and 42 minutes. The self-produced record is raw and gritty and sensual and experimental and fun. It also showcases Clark as an artist in her peak, in absolute control.