Nils Frahm fulfills last year’s promise to follow up 'Day', the collection of solo piano music he released last March. 'Night', which contains five new tracks, will be out on May 9 on vinyl as well as via all digital platforms. A CD version, 'Night & Day', including all eleven tracks from both albums, will also be made available at the same time. The new music follows Nils' latest live album, 'Paris', which was released in December last year.

Nils recorded the pieces on 'Night' on the Klavins M450 piano, installed in his studio at the renowned Funkhaus complex in Berlin. It was built by German-Latvian piano maker David Klavins for the first Piano Day in 2015, a celebration that marked its 10th anniversary this March. At 4.5 meters tall and weighing over a tonne, the model was the largest upright piano in the world at the time. The record is a reminder that, although he has since become celebrated for the complex, intricate arrangements of his most commercially successful multi-instrumental albums, Nils first made his name with similarly meditative piano compositions on albums like 2009’s 'The Bells', 2011’s 'Felt' and 2012’s 'Screws'.

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A multifaceted artist, who over his career has traversed between singer-songwriter, hit producer, DJ and curator, Ben Westbeech now arrives on Glitterbox Recordings with a fully realised artistic vision on his new album Everything Is Within You.Encapsulating Ben’s appreciation of the power we all have within us to achieve joy and peace, as conveyed sonically by all the musicians involved, Everything Is Within You came together organically. His first full length solo LP since the acclaimed There’s More To Life Than This on Strictly Rhythm in 2011, Everything Is Within You showcases Ben’s artistic development as a songwriter, curator and producer as he steps into his role as producer and arranger, away from lead vocalist.“This album is about speaking the truth. The truth from within. Luckily, I have been blessed to come across the paths of other artists that shared the same sentiment over the seas that dwell. These artists all feature heavily on this record. It isn’t about me or you. It’s about everything that is within.” – Ben Westbeech. Spotlighting featured artists such as Dames Brown (recorded by Moodymann in Detroit), RAHH, Karen Harding, DAVIE and Obi Franky, with co-production credits including Honey Dijon, Luke Solomon and Chris Penny, as well as Mousse T., the record was born out of a Glitterbox writing camp in London at Defected’s studios. The collection of records that were made that week became a catalyst for the full album, now arriving on Defected’s Glitterbox Recordings. An artist with a rich musical history, from the release of his mature debut album Welcome to the Best Years of Your Life for Gilles Peterson’s Brownswood, to his chart-topping club records as Breach, and work as The Vision on Defected, the path to this new album has included periods of sobriety, self-work, spiritual exploration and the integration of a healthier outlook all round. Now based in Ibiza, the omnipresent energy of the magical island has permeated into the music on his new album, as well as the influence of his personal and spiritual growth.Exploring a range of genres across the LP, from neo soul to house influences, the breadth of Ben’s musical knowledge is demonstrated throughout the eight tracks. From the blissed-out piano grooves of ‘Times Are Changing’, since remixed by house royalty Louie Vega and Josh Milan as Two Soul Fusion, to the uplifting ‘Do Me Right’ and the emotional soundscapes of ‘So Good To Me’, Everything Is Within You puts the emphasis on the guest vocalists. With exquisite live instrumentation and songwriting that give the record an evergreen feeling, this is a timely album that exudes a contagious, positive feeling throughout, something the world needs right now.

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Freestyle Records compile a killer overview of rare & undersung UK street soul & boogie tracks from across the 80s and early 90s, selected from the creme of the label's recent 12" reissue programme. Features an exclusive mid-90s cut from Manchester street soul act Gold In The Shade, along with photography from Andrew Holligan and notes from Kevin Le Gendre. "The sleeve of this album has faces that tell a thousand stories. In Hackney, east London, where photographer Andrew Holligan created a series of inspired pictures, every day people developed a vibrant culture, enlivening a part of the capital that was much maligned during the Thatcher years. The street was a lounge, a place to meet, talk, laugh, and, generally, hang. This was also the golden age of the house party. At the dawn of the 80s the sound of black popular music that these good folk were listening to was in the grip of change. For the most part bands with horn sections were scaling down and the 8-10 piece unit gave way to much smaller ensembles with a less orchestral sound, as saxophonists, trumpeters and trombonists who provided finely shaded harmonies and counter-melodies were being replaced by keyboard players. Indeed the rainbow of colours fashioned by an arsenal of synthesizers, from Prophets and Korgs to Rolands and Yamahas, brought preen and sheen to soul, which, with a lower tempo and heavy bouncing bass lines, was being referred to as boogie. Needless to say the new sub-genre caught on in the UK and became another form of vocabulary for audiences to embrace in the slipstream of the Brit-funk movement of the mid '70s, which was spearheaded by groups of mostly young Britons of West Indian heritage. During this transitional period, which also saw the emergence of lovers rock, there was a certain amount of movement between genres, and a cursory glance at the total output of black British music reveals the presence of female vocalists recording in several styles. Lines were crossed. Furthermore, there was an increase in the amount of one-off studio projects, in which a producer-composer wrote a track, played keys and called in a singer and some additional sessioneers to add finishing touches. This is one of the main reasons why the era is so fascinating, and is still the subject of the extensive research that has led to an album such as The Way U Make Me Feel. Rather than being a scene that was centred around several marquee bands, boogie Brit-Funk was more disparate and fragmented, and therefore far harder to pin down and document. The other term that was coined for the slew of releases was Street Soul, which also resonated with a certain spirit of independence, as the bulk of the artists who stood under this umbrella were releasing their work on small labels that did not have the reach of the majors. It meant that they were often consigned to obscurity, for the most part. The story is all too familiar. But low key can be high grade. Big labels and large venues serve a purpose but the real good times are to be had at house parties on the street where people live. The Boogie is always funkier when it drops in the basement."

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