There is a restive, Christmas-time sound of new hope and expectations running throughout Shir Yedidot that is hard to fathom at first, given that the repertoire moves effortlessly from Chabad nigunim (Hasidic wordless melodies) into original compositions. It is as if the gifted trio — leader/bassist Yosef Gutman Levitt, pianist Yonathan Avishai (Joys and Solitudes, 2019; with trumpeter Avishai Cohen Playing the Room, 2019) and oudist Yagel Haroush. Haroush also adds depth and texture playing the kamancheh (Persian bowed instrument) and ney (end-blown wood flute). The players seem to have set out to exclaim all the joy in all our voices and how those voices together radiate out to each other. Over days, over years, over centuries.
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Building on a title concept that references the way trees connect below ground, Philadelphia-based pianist 
Producer, vocalist and creative powerhouse KUČKA marks a year of her sophomore album 
There is a bizarre Venn diagram as part of the album art for the new collection from 
Can you feel the love? You will after spinning Our Time to Ride, the second album from married duo Annika Chambers and guitarist Paul DesLauriers.
Hill Country Blood is 
Like his family counterpart and kindred spirit, 
Not to be confused with Cannibal and the Headhunters, The Kentucky Headhunters, or Herbie Hancock’s Headhunters, these three Lone Star-bred bad boys join for a rowdy blues-rocking debut as the Texas Headhunters.
Well into their third decade as a band, The Hives are still the most fun rock’n’roll party you can find. Still dressed entirely in black and white, still trading under absurd stage names such as Chris Dangerous and Vigilante Carlstroem, and still making high-kicking punk rock that avoids any hint of musical maturity despite the fact that they’re all now pushing 50, the Swedish quintet are nothing if not committed.
With “ok”, his new album and ACT debut, French trumpeter ‘daoud’ offers a quiet manifesto – a record shaped by contrast and contradiction, by collapse and the stubborn act of beginning again. Built around the idea of accepting what cannot be changed. He explains: “The whole record is built around the concept of reluctant acceptance of things that you can’t control. All right, fuck it, fine, I guess.” The album explores failure, loss, repetition, and the soft absurdity of pretending everything’s fine. Across 14 tracks, daoud weaves tragedy and humor, chaos and tenderness, melody and noise into a rich and emotionally charged soundscape.
Kadialy Kouyate is a superb kora player from Kolda in south Senegal. Now based in the UK, he’s involved in numerous projects, including releasing solo music, such as Toña, meaning ‘Truth’, his ninth album.
Singer and kora player 
