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To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture herchildlike wonder. Mereba gracefully shines on the follow-up to herbounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever washappening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. \"Even though I'm fully an adult, I had to grow up in away overnight when he [my son] came,\" Mereba explains. \"The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life.\" The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels it's folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-thedevelopment of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. 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The UK band'snew album is a coming-of-age moment inspired by burnout, the musicindustry, the brutal collapse of a relationship and - crucially - Dana's ownincreasing immersion in her craft as an artist. \"A lot of this album is about a more frenetic and desperate kind oflove,\" says Dana, \"it is about completely losing my sense of self in arelationship, and the deep residue of insecurity and pain that lingered andclouded a new relationship.\" Songs that were written as love songs - like In ADream I'm A Painting - took on new meanings as Margolin viewed the songswith a new distance. \"There was a lot of love and confusion, all interspersedwith exhaustion and pain.\"The Clouds sessions took place in Frome as Winter melted into earlySpring at the beginning of 2024. \"There were a few breakdowns,\" grins Dana,in a fair assessment of recording such intimate and personal songs, \"aftersome takes I would just collapse on the floor, so upset.\" An environment wasfostered where Dana could express herself and be nurtured. \"We would havethese big communal meals every night,\" she says, \"it felt very close knit andcaring and warm and special.\"Our little house looked over a big hill,\"remembers Dana, \"there was a river running through it, it was big and brightand beautiful.\" The studio itself was bright - full of beaming natural light fromthe large windows, a blessing for musicians used to the sealed tomb world ofmost recording studios, and for once the band were all able to record in thesame room as the producer.Today, Dana reflects on Clouds In The Sky They Will Always Be ThereFor Me with the enthusiasm of a real creative breakthrough. \"It feels like thefirst time we've made something,\" she explains, audibly delighted at thealbum, \"it captured something about our friendship and the way that we havelearnt to play together. I love the songs, I love playing them, they haven'tgotten old and it feels like it's a special thing.\" A pause. \"It's taught me somuch. Following your gut to the nth point, trusting your friends and theirloyalty, trusting to be able to fight with people properly. How I want to live ishow I want to make records, because making records is my life because mywork is my play is my job is my life. 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His DIY fantasias found their fullest and most celebrated form in 2007 on his second album proper, the exquisite Night Falls Over Kortedala – Lekman’s self-professed “dream record”. It went to number one in Sweden and was later hailed as one of the 200 best albums of the 2000s by Pitchfork, as well as one of the top 100 albums of the 21st century so far by The Guardian.\u003cbr\u003e\u003cbr\u003eNow, like \u003cem\u003eOh You’re So Silent Jens\u003c\/em\u003e, it no longer exists in its original form. \u003c\/p\u003e\r\n\u003cp style=\"\"\u003e\u003cem\u003eOh You’re So Silent Jens\u003c\/em\u003e enigmatically disappeared in 2011; \u003cem\u003eNight Falls Over Kortedala\u003c\/em\u003e followed suit in early 2022. Lekman’s impulse for giving old music fresh life and context has led him to remake the records under new names, each delicately positioned in dialogue with the past – the same albums, just different. \u003cem\u003eThe Cherry Trees Are Still In Blossom\u003c\/em\u003e and \u003cem\u003eThe Linden Trees Are Still In Blossom\u003c\/em\u003e are a pair of lovingly and painstakingly assembled reduxes each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. 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It's meant to: the 12 songs contained within divedeep into the rich folklore of the American West to tell time-worn tales of loveand trauma, heartbreak and spiritual renewal. Cast with a warm glow andfinding Current Joys' Nick Rattigan tapping into some of his lushest, mosthigh-fidelity production to date, it's the kind of album that listeners could seethemselves within, and, hopefully, keep close when they're most in need ofreassurance or escapism. For Rattigan, though, it's all that and more.Rattigan wrote East My Love alone in the woods in Tennessee, withno cell reception and nobody in earshot for miles. Composed three yearsbefore Love + Pop, the experimental pop double record he released in 2023and 2024, the songs on East My Love felt too raw to confront until he felt welland truly out from underneath the cloud that had been cast over him.Rattigan describes the songs as \"landmines\" that, for years, threatened toupend his carefully balanced mental state. \"They were just triggers thatwould put me back in this emotional space, and I think eventually I got to aplace where they were more comforting,\" he recalls. \"That's what I hopepeople find out of the record - a solace from any anxieties or depressions.\"Along with that comfort comes pain, and an acknowledgementthat any repair requires some level of breakage. Lead single \"California Rain\"acts like a tableau depicting Rattigan's attempt to escape his demons, it'splacid lyrics a distinct counterpoint to the tidal-wave production: \"Isn't it niceto get away?\/Clearing my head up, and dull away the pain.\" It speaks to thealbum's constant coin-toss between peace and chaos: \"It's like you're trying tooutrun your demons, but at a certain point, they become your friend, and youhave to walk alongside them,\" says Rattigan. \"I feel like you don't know thatwhen you're suppressing them - when you're hiding them in the rain.\"At other points, Rattigan is more clear-eyed about the struggle ofmoving forward; opening track \"Echoes of the Past,\" aches with theacknowledgement that inner peace exists on a knife's edge. \"The world won'tend in blazing fire and brimstone - it'll end from us not learning from our pastand our mistakes,\" says Rattigan.There's a purity of catharsis that runs through these songs; writtenwithout pretense, they take base human needs and desires and fit them intoa grander tradition of American songwriting that takes in everything fromWillie Nelson to Bright Eyes. 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On such songs as the righteous chant \"Woman Power,\" the empathetic ballad \"Angry Young Woman,\" the hilarious proto-grrrl \"Potbelly Rocker,\" and the satirical \"Men Men Men,\" Yoko sings in surprisingly straightforward fashion about the burdens carried by women and the mandate for feminism. Supported by such skilled studio vets as guitarist David Spinozza, sax player Michael Brecker, and drummer Jim Keltner, this is perhaps Yoko's most accessible album, and her most intimate. Feeling the Space was recorded during the time when the avant-garde visionary artist became estranged from her rock-star husband John Lennon. He plays only briefly on the album (billed as Johnny O'cean); she produced and wrote all the songs. The result is a definitive soundtrack\/document of the era of consciousness raising and of radical critique of the family structure. Yoko and company deliver this hard message soft rock style, or as soft as Yoko could get. 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She appears in Season3 of THE MORNING SHOW on Apple TV+ alongside JenniferAniston and Reese Witherspoon, and STAR TREK: DISCOVERY onParamount Plus. Tig recently starred in the Netflix films YOURPLACE OR MINE and WE HAVE A GHOST, as well as Zack Snyder'sARMY OF THE DEAD. Prior to that, she starred in theheartwarming Paramount film INSTANT FAMILY alongside MarkWahlberg and Octavia Spencer. Tig wrote, produced and starredin the semi-autobiographical Amazon Prime Video series ONEMISSISSIPPI, also directing the premiere episode of Season 2. Theshow yielded critical acclaim and several award nominations,including WGA, GLAAD and The Critics Choice Awards.Tig's HBO standup special, DRAWN, made history as thefirst-ever fully animated stand-up special, and was nominated fora Hollywood Critics Association Award. She was previouslynominated for an Emmy and a Grammy Award for her 2016 HBOspecial BOYISH GIRL INTERRUPTED, a GLAAD Award nominationfor the Netflix Original Documentary TIG, and her memoir I'm Justa Person is a New York Times Bestseller. In 2013, Tig was alsonominated for a Grammy for her sophomore release, LIVE, whichwas the #1 selling comedy album in the world that year. LIVE is astand-up set delivered just days after Tig was diagnosed withinvasive bilateral breast cancer, from which she is now inremission. Tig remains a favorite on talk shows, including \"TheLate Show with Stephen Colbert\" and \"The Tonight Show withJimmy Fallon\", public radio, and continues to tour internationally.Tig and her wife, Stephanie Allynne, co-directed thefeature film, AM I OK?, starring Dakota Johnson and SinoyaMizuno, which premiered at Sundance and premiered on HBOMax in June 2024. 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His adoration of The Great American Tall Tales like John Henry and Paul Bunyan's blue ox Babe stretched across the Atlantic, where he created his own personal Tall Tales. And when he learned of the London Wall's seven gates (itself a misconception), Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina's way into London, a gate only passable in the mind.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eFast forward to 2008, Molina set off on an experimental solo tour through Europe. While in Northern Italy, Molina claimed to have been bitten by a rare, poisonous spider. A debilitating bout of illness ensued. \"I was in the hospital here in London,\" Molina wrote in a letter. \"Saw six doctors and a Dr. House-type guy. They are all mystified by it, but I am allowed to be at home, where I am taking a dozen scary Hantavirus type pills a day that are all to supposedly help - but they make me feel like shit.\" There is no record of a single doctor visit, not any prescription record for these medications. It is entirely plausible there was no spider and that whatever was keeping him indoors during this time was entirely self-induced. While at home, he of course wrote songs. \u003c\/span\u003e\u003cspan\u003eMolina also claimed that during this time, he fed several bright green parrots that would gather in his yard. While often associated with a greyscale sensibility, Molina was oft-clad in a Hawaiian shirt and had, at least in part, selected the name Songs: Ohia for his first project as a nod to Hawaii's 'Ohi'a lehua flower. Which is all to say, the tropical element the parakeets brought to those sick days delighted Molina. He made short, crude field recordings of them with his trusty four-track. Only once Molina was officially on the mend and re-exploring the streets of London would he learn that those parrots had their own fabled tale. Back in the 60s, Jimi Hendrix - in a moment of psychedelic clarity - released his pair of lime green ring-necked parakeets from their cage, setting them free into the London sky. Now, their decendents are spotted regularly around certain parts of the city. Or so we're told. \u003c\/span\u003e\u003cspan\u003eEight Gates is the last collection of solo studio recordings Molina made before he passed from complications related to alcoholism in 2013. Recorded in London around the time of the supposed spider bite and Jimi's supposed parakeets, some of the songs (\"Whispered Away,\" \"Thistle Blue\") are fully-realized - dark, moody textures that call to mind his earlier work on The Lioness. Knowing what we know about those parakeets and their peppered presence on the recordings, one can't help but think of that colorful tree of birds on Talk Talk's classic Laughing Stock, certainly a spiritual guide for much of the set. Other songs (\"She Says,\" \"The Crossroads and The Emptiness\") lay in a more unfinished states, acoustic takes that call to mind Molina's Let Me Go Let Me Go Let Me Go, and still tethered to Molina's humorous studio banter. You remember how young Molina was, and how weighty this art was for such a young man. On the closer, \"The Crossroads and The Emptiness,\" Molina snaps at the engineer before tearing into a song in which he sings of his birthday (December 30), a palm reading and the great emptiness with which he always wrestled. 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It's meant to: the 12 songs contained within divedeep into the rich folklore of the American West to tell time-worn tales of loveand trauma, heartbreak and spiritual renewal. Cast with a warm glow andfinding Current Joys' Nick Rattigan tapping into some of his lushest, mosthigh-fidelity production to date, it's the kind of album that listeners could seethemselves within, and, hopefully, keep close when they're most in need ofreassurance or escapism. For Rattigan, though, it's all that and more.Rattigan wrote East My Love alone in the woods in Tennessee, withno cell reception and nobody in earshot for miles. Composed three yearsbefore Love + Pop, the experimental pop double record he released in 2023and 2024, the songs on East My Love felt too raw to confront until he felt welland truly out from underneath the cloud that had been cast over him.Rattigan describes the songs as \"landmines\" that, for years, threatened toupend his carefully balanced mental state. \"They were just triggers thatwould put me back in this emotional space, and I think eventually I got to aplace where they were more comforting,\" he recalls. \"That's what I hopepeople find out of the record - a solace from any anxieties or depressions.\"Along with that comfort comes pain, and an acknowledgementthat any repair requires some level of breakage. Lead single \"California Rain\"acts like a tableau depicting Rattigan's attempt to escape his demons, it'splacid lyrics a distinct counterpoint to the tidal-wave production: \"Isn't it niceto get away?\/Clearing my head up, and dull away the pain.\" It speaks to thealbum's constant coin-toss between peace and chaos: \"It's like you're trying tooutrun your demons, but at a certain point, they become your friend, and youhave to walk alongside them,\" says Rattigan. \"I feel like you don't know thatwhen you're suppressing them - when you're hiding them in the rain.\"At other points, Rattigan is more clear-eyed about the struggle ofmoving forward; opening track \"Echoes of the Past,\" aches with theacknowledgement that inner peace exists on a knife's edge. \"The world won'tend in blazing fire and brimstone - it'll end from us not learning from our pastand our mistakes,\" says Rattigan.There's a purity of catharsis that runs through these songs; writtenwithout pretense, they take base human needs and desires and fit them intoa grander tradition of American songwriting that takes in everything fromWillie Nelson to Bright Eyes. 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At the dawn of the 21st century, the album felt modern. It aligned Molina with a new set of peers - Low, Gastr del Sol, Red House Painters and, most importantly, the influential Scottish band Arab Strap, whose producer and members were crucial in the creation of The Lioness. The avant-garde tones and arrangements of Arab Strap are absorbed here into Molina's songwriting to create what would become, for many acolytes, the archetypal Songs: Ohia sound. Love \u0026amp; Work: The Lioness Sessions, the box set reissue, will serve as the seminal log of the era, complete with lost songs, photos, drawings, and essays from those who knew Molina best. We know Molina was diligent in both love and work. He treated songcraft like a job at the mill, and his approach to romance was not so different. We know that when he fell in love with his wife, he was dutiful in his adoration. There were strings of love letters and poetic gesture. Included in this edition are replicated examples of this relentless love - an envelope with a letter from Molina, a photograph of Molina and his to-be wife, a postcard, a Two of Hearts playing card, and a personal check for one million kisses. Some of these items were gifts he would send to his new love from the road; others, like the 2 of Hearts, were totems he'd carry with him around this time as a symbol for his burgeoning love. And so, the head-over-heels album that is The Lioness has it's workman counterpart. Nearly another album's worth of material was recorded in Scotland during the album sessions. While similar in tone and structure, the songs seem to deal in the grit and dirt of being. These are songs for aching muscles getting soothed in the third-shift pub. But they're also examples of Molina's diligence as he constructs what would be the essential elements of The Lioness. In addition to these outtakes, we also have a 4-track session made weeks earlier in London with friend James Tugwell. Comprised of primarily guitar, hand drums and voice, these songs are raw experiments that mostly serve to illustrate Molina's well of words and ideas. But then, there is the devastating Sacred Harp hymn \"Wondrous Love.\" While he may have had his new love in mind, one can't help but think of Molina's legacy as he softly warbles \"Into eternity I will sing\/Into eternity I will sing.\" You don't have to try too hard to mythologize Molina. 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