The Killers return with their seventh studio album 'Pressure Machine'.

The album is about the small town of Nephi, Utah where Brandon Flowers spent his youth. The songs are extremely personal and cover a spectrum of emotions in connection to growing up in a rural setting.

Track Listings
1 : Mood Into Object Personified
2 : Jolene from Her Own Perspective
3 : Origin Story
4 : Jazzercise
5 : Pathologically Yours
6 : Spinal Tap
7 : Inside of a Plum
8 : Rorschach
9 : In Regards to Your Tweet
10 : Dep. Chamber
11 : Pearl Gurl
12 : The Lesson
13 : I've Spent Forever Planning a Crisis
14 : Like a Liver
15 : Weltschmer

Even my subconscious is self-conscious," Okay Kaya sings on "Inside Of A Plum", giving us a sense of the mental state she entered while making SAP, an album she wrote, performed, engineered, and produced alone, sometimes spending weeks at a time without social interaction. This is a concept album about consciousness in which Okay Kaya focuses her trademark combination of abstraction and wit on what happens to her mind unaccompanied, on her tendency to feel less like a human and more like the sticky secretion of a tree. After releasing her Spellemann Award winning album Watch This Liquid Pour Itself in January of 2020, Kaya left her home in New York and moved to Europe to create and show her various interdisciplinary exhibitions. Among others, she made an installation that amplified music made underwater and an interactive sculpture based on Jungian sandplay therapy for children. Between her exhibits, Kaya recorded through lockdowns by herself in the loaned studios of generous friends. SAP first grew from the first single "Spinal Tap" about Kaya wandering in Berlin, tree-touching. "Sap reminds me of the bodily functions I need to remember to do, like sleep. One might say it 'resinates.'" The album was further inspired by Ketamine Therapy which is discussed in "The Inside Of A Plum." Kaya explains, "The doctor said this treatment grows literal physical branches in your brain." As she experimented with ego death, the subject of her song "Jazzercise", Kaya found herself writing in the voices of fictional characters she'd encountered in other people's stories. In 'Jolene From Her Own Perspective,' she imagines Dolly Parton's nemesis responding to her song. In 'Origin Story,' Kaya writes as a mythical goddess frustrated with her creation myth. In 'I've Spent Forever Planning A Crisis,' Kaya responds to Cassavetes' film A Woman Under The Influence writing from the perspective of the story's children. Okay Kaya's investigations of mind-body come along with sexy dance beats, unpredictable interlocking synths, delicate soft guitars, and close-to-the-mike R&B whispering. But Kaya likes her falsettos cracking and her soul-inspired hooks careening wildly, a beautiful chaos that somehow fits together. When she returned to New York, Kaya was excited to collaborate again, to get friends to "bless the record." She invited friends to Gaia Studios in Greenpoint, Brooklyn to sing or play an instrument. Most songs on the album unfold with guest performances from artists as varied as deem spencer, Taja Cheek of L'Rain and Adam Green of The Moldy Peaches. Just as the recording process began with isolation and ended with friends, SAP starts with the internal and leads outside to romance, to lovers who serve as funhouse mirrors, reflecting Kaya back to herself from different angles. In "Pearl Gurl" Kaya harmonizes with her multi-tracked second self and sings her uncertain conclusion: "If love is not the answer, it's one hell of a question.

Track list
Finally It S Christmas
Wonderful Christmastime / Come on It S Christmas (Medley)
Rudolph the Red-nosed Reindeer
'til New Year's Night
Please Come Home for Christmas
Someday at Christmas
Joy to the Mountain
Jingle Bells
Happy Christmas
All I Want for Christmas
Winter Wonderland
Blue Christmas
Peace on Earth
Have Yourself a Merry Little Christmas

Track Listings
1 : Map of Japan
2 : Dawncolored Horse
3 : Lights Light Up
4 : 2+2
5 : Superglued
6 : Henry
7 : Pick
8 : In My Own Time
9 : Red Deer Day
10 : Half Finished

I never asked you to change and you're treating me like I did, the more I'm thinking about it, maybe I should've started" _____ Fenne Lily opens her third album with a confrontation. At odds with the UK-born, New York-based artist's dulcet delivery, this acerbic assessment of an intimate situation sets the tone for her third album perfectly. From the first line to the last, Big Picture finds Fenne seeking clarity in the uncertain; comfort in the uncomfortable. A gorgeous and gripping portrait of Fenne's last two years, Big Picture was rarely easy for it's author to produce but it's contents offer a brilliant catharsis. Started haltingly after a period of writer's block, the songs that would make up her latest work were pieced together over the course of the pandemic, in an effort to self-soothe. "Writing this album was my attempt at bringing some kind of order to the disaster that was 2020," Fenne states. "By documenting the most vulnerable parts of that time, I felt like I reclaimed some kind of autonomy." Though it's creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne's most cohesive, resolute work to date, both lyrically and sonically. "This isn't a sad album - it's about as uplifting as my way of doing things will allow," she says. "These songs explore worry and doubt and letting go, but those themes are framed brightly. There's a sadness to the temporary nature of things, but that can be soothing, too." Like whispered assurances that seemingly unanswerable questions will someday resolve themselves, each track provides an insight into Fenne's ever-changing view of love and, ultimately, it's redefinition - love as a process, not something to be lost and found. Notably, these 10 songs are Fenne's first and only to have been written over the course of a relationship; 2018's On Hold and 2020's BREACH both confront the pain of retrospection, saying goodbye to a love that's gone. Big Picture does the exact opposite - rooted firmly in the present, it traces the narrative of two people trying their hardest not to implode, together. With confidence and quiet strength, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. "This album is an observation of the way I think about love, the self-examination that comes with closeness and the responsibilities involved in being a big part of someone else's small (er) world," summarizes Fenne. "It was written in a place of relative emotional stability - stability that felt unstable because of it's newness, but also because of the global context. 2020 was the year of letting go, but we'd all already let go of so much and nothing felt like mine anymore. Writing always did, though, so that's what I chose to do.

Track Listings
1 : Intro
2 : Son of Emmerson
3 : Ballpark
4 : Trouble
5 : New Dawn
6 : Brother
7 : Reprise
8 : RTN
9 : Don't Die

Already one of Britain's most respected and sought-after songwriters, producers and musicians, Dave Okumu is now stepping in to the spotlight with a debut solo project. 'Knopperz' is a wholly instrumental album uniting hip-hop, jazz and experimental electronic music. Partly a homage to J Dilla's classic 'Donuts', the record is also inspired by, and uses elements of, friend and pianist Duval Timothy's album, 'Sen Am'.

Track Listings
1 : A Gradual Decline
2 : Shattering Through
3 : Polar
4 : From Here to Nowhere
5 : Time Is Not Your Friend
6 : Pollen
7 : Beauty Collapsing
8 : Kernel Panic
9 : Gravitational Loss
10 : Maboroshi
11 : Fear of Everything

CUTS, the audio-visual project of composer and filmmaker Anthony Tombling Jr, will release his debut album Gradual Decline through Village Green Recordings on 30th November.

The American multi-instrumentalist performs live at the Royal Albert Hall in 2004.

Track Listings
1 : You Take Me As I Am
2 : Farewell Appalachia
3 : The Bigger Picture
4 : (A Belated) Invite to Eternity
5 : Hook, Line, Sinker
6 : Knock Me On the Head
7 : The Great Procrastinator
8 : The Ones We Hurt the Most
9 : November Song

Oxford indie-folk quartet Stornoway followed up their celebrated 2010 debut album, 'Beachcomber's Windowsill', in 2013 with 'Tales From Terra Firma', an album of stories - birth, death, marriage and coming of age. Featuring the singles 'The Bigger Picture' and 'Farewell Appalachia', it was recorded and produced by the band in the main at their own Oxford space, bringing in mix engineer George Shilling (having loved his work with Teenage Fanclub, a huge influence on them) midway to help them achieve their vision. It worked too. By being true to themselves and remaining oblivious to outside influences, they made a truly special album where life is unfurled for the listener. The Guardian said in their full marks review that there's 'no curse of the second album for Stornoway, who've stretched out without losing sight of the intimacy of their charming debut'. For its sleeve, the band worked with the artist Kirini Kopcke who used fragments of lyrics as her start point to create a picture for each 'tale' on the album, presenting a strip cartoon-like depiction of the adventures in the life of the main protagonist.