Electronic songstress Natalie Walker returns with her sophomore album the titled 'With You.' It's a diverse and dynamic album rooted in classic pop and New Wave soundscapes. The release comes on the heels of last year's 'Urban Angel,' Walker's debut that has become an indie favorite among electronic fans. 'Urban Angel' garnered critical acclaim and saw heavy rotation at KCRW. Director Sofia Coppola also heard a Thievery Corporation remix of Walker's single "Quicksand," fell in love with it and included it in the trailer for her film Marie Antoinette.

Armed with a voice that softly swirls and induces chills just the same, the release finds Walker reuniting with the Brooklyn-based production duo Stuhr (Mya, Nicole Atkins) who oversaw production on her debut. As a result, 'With You' doesn't so much depart from her debut as build on its strengths. It also reflects Walker's increasingly varied influences from the upbeat to sublime and serious. From tracks like "Monarch," "By and By" and the first single, "Over and Under," 'With You' firmly establishes Natalie Walker as one of the electronic genre's brightest new stars.

Over the course of two previous studio albums and countless all-nighters at their East Village clubhouse, Nublu, Brazilian Girls has established a reputation as New York’s premier international party band. To attend a Brazilian Girls show is to experience something like time travel: No one else is quite as capable of making a few hours fly by like a few minutes.

For the Girls’ third full-length—the follow-up to 2006’s Talk to La Bomb, singer Sabina Sciubba says she, keyboardist Didi Gutman and drummer Aaron Johnston (bassist Jesse Murphy is on hiatus from the group) wanted to slow down their process. The result of nearly eight months’ worth of work on their own and with producer Hector Castillo, the boldly titled New York City is Brazilian Girls’ most sophisticated, dynamic effort yet. To be sure, the album contains its fair share of uptempo party-starters: “We just want to have a good time all the time,” Sciubba admits gleefully over an infectious hand-clap beat in the aptly named “Good Time,” while “Losing Myself” rides a go-go organ groove.

Yet New York City also reveals a deeper, more contemplative side of Brazilian Girls’ sound, one that Johnston says reflects the band’s desire to “actually sit down and write rather than just jam at the club.” They certainly succeed on that count. “Strangeboy” is a spooky avant-cabaret number in which Sciubba’s echo-chamber vocals float uneasily over forbidding haunted-house horns. “Ricardo” has a sly spy-movie throb. “I Want Out” features gorgeous choral vocals that call to mind Björk’s work on Vespertine. “Mano De Dios” could be the soundtrack to your next yoga session. For “Internacional,” a sleek future-lounge throwdown, Brazilian Girls were joined in the studio by Senegalese superstar Baba Maal, a happy byproduct of Sciubba and Gutman’s work on Maal’s own forthcoming album.

The members of the band are sure that the wide variety of fans who make up Brazilian Girls’ diverse audience will respond to their latest explorations. “Rather than something cool or hip, I think people are looking for something that touches them,” says Sciubba. “Everyone needs a little love right now.” And they’ll certainly find it—prepare to be shaken!

Issa Bagayogo is a regular star attraction on stages around the African continent, playing for huge and wildly enthusiastic audiences. On his latest release, Mali Koura, Issa adds jazz inflected horns to his organic blend of roots music and Western dance technology. Issa’s sound has ripened into a fully-realized Afro-European hybrid – no longer does it sound like a fusion of two separate cultures, but rather like the fully-evolved music of a brand new culture.

An incredible roster of guest musicians appear on Mali Koura, including flutist Ba Diallo (who plays regularly with the National Ensemble of Mali); the French guitarist Pascale Hubert (of Double Nelson); djembe player Adama Diarra (famed for his work with some of Mali’s greatest griots as well as jazz singer Dee Dee Bridgewater); and Issa’s longtime guitarist Mama Sissoko.

Take all of these elements together and the result is one of the warmest, most surprising and most exciting albums of African music you've heard in a while.

The Dandy Warhols are back with their sixth LP, Earth To The Dandy Warhols. Earth To… marks the band’s debut as masters of their own destiny, powered now by their own label, Beat the World records. Pulling together the diverse sounds and influences that have always characterized their music, this is quintessential Dandy's, full of the same dry vigor that’s made them world famous. Earth To The Dandy Warhols is set for release on August 19, 2008.

From the Some Girls-era Rolling Stones-meets-Talking Heads “Welcome To The Third World,” to the campy “Mis Amigos,” to the psychedelic rock of “Beast of Saints,” Earth To The Dandy Warhols is pleasure of a ride that allows you to fully settle into it while still keeping you on your toes. The band reached out to their friends, too, inviting Dire Strait’s Mark Knopfler and the Heartbreakers’ guitarist Mike Campbell to join in on the rollicking “Love Song.” “The Legend Of The Last Of The Outlaw Truckers AKA The Ballad Of Sheriff Shorty,” is a 21st century take on outlaw country that has Courtney Taylor-Taylor growling melodically over dusty guitar riffs.

The Dandy Warhols kick off their 2008 tour in support of the album with European Festival dates this summer and a fall North American tour. Check them out in you town. Support band is Portland's The Upsidedown.

Sep 9 - First Avenue - Minneapolis, Minnesota
Sep 10 - Barrymore - Madison, Wisconsin
Sep 12 - Vic Theater - Chicago, Illinois
Sep 13 - Kool Haus - Toronto, Ontario
Sep 14 - Club Soda - Montréal, Quebec
Sep 16 - Wilbur Theatre - Boston, Massachusetts
Sep 17 - Terminal 5 - New York, New York
Sep 19 - Music Hall of Williamsburg - Brooklyn, New York
Sep 20 - TLA - Philadelphia, Pennsylvania
Sep 22 - 9:30 Club - Washington DC
Sep 23 - Center Stage - Atlanta, Georgia
Sep 26 - Liberty Hall - Lawrence, Kansas
Sep 27 - Gothic Theater - Denver, Colorado
Sep 28 - Belly Up - Aspen, Colorado
Oct 1 - Belly Up - San Diego, California
Oct 3 - The Wiltern - Los Angeles, California
Oct 4 - Warfield - San Francisco, California
Oct 5 - Roseland - Portland, Oregon

This EP is a precursor to the new album, "Knowle West Boy", out in September in the USA, and includes the "Council Estate" single and a diverse selection of remixes, such as the dancehall inspired South Rakkas Crew remix, the club ready Drums Of Death remix, and more. The 12-inch features the reggae funk of album track "Baligaga", while the CD version includes an exclusive "Council Estate" remix by Kotchy. The album is already out in Europe and available as an import here if you want to spend the extra cash instead of waiting a couple of weeks.

A lot has been done to commemorate the musical life of David Bowie, but among the near-countless covers, tributes, and remixes, no collection has brought together such an exciting group of artists, whose covers re imagine these classic tunes while staying fiercely loyal to Bowie’s greatness. After Rapster Records' great success with its 2006 release of the adventurous Radiohead covers album entitled “Exit Music,” the label set out to release a follow-up with artists that have been heavily influenced by the legacy of the Thin White Duke. After Bowie turned 60, it was understood that the time could never be more perfect to create Life Beyond Mars. The selected artist could choose any track from Bowie’s back catalog and create his own fresh interpretation, however faithful or different from the original. The result is a fascinating range of interpretations by some of the leading players in today’s electronic music scene - from Detroit’s Matthew Dear and Carl Craig to Joakim, Kelley Polar, Susumu Yokota and Au Revoir Simone, all tapping into the cryptic, expressionist core of Bowie’s originals.

Tracklist

01 Au Revoir Simone - Oh! You Pretty Things
02 Heartbreak - Loving The Alien
03 Kelley Polar - Magic Dance
04 Leo Minor - Ashes To Ashes
05 Carl Craig Presents Zoos of Berlin - Looking For Water
06 Drew Brown - Sweet Thing
07 Matthew Dear - Sound & Vision
08 Susumu Yokota - Golden Years
09 The Emperor Machine - Repetition
10 Joakim & The Disco - A New Career In Town
11 Richard Walters & Faultline - Be My Wife
12 The Thing - Life On Mars

Niyaz's 2005 debut featured a convincing blend of Sufi mysticism and trance electronica, and quickly established them as a standout ensemble in a very crowded world music field. Vocalist Azam Ali co-founded the best-selling world music duo Vas in 1996; her unmistakable voice has graced numerous recordings and major film scores. Loga Ramin Torkian is a multi-instrumentalist whose group Axiom of Choice brought the ancient sounds of Persian classical music to Western listeners in the 1990s. And producer Carmen Rizzo, a multiple Grammy nominee, has worked with Coldplay, Seal, Ryuichi Sakamoto, and many others.

Nine Heavens begins with the irresistible "Beni Beni," which marries an 18th century Turkish Sufi poem to a traditional Turkish folk song and some beautifully integrated electronics and programming. The steady, trance rhythms support layers of Turkish and Persian lutes, all topped by a new instrument known as the kamman, a larger, lower-pitched version of the traditional Persian fiddle. Other highlights include "Iman," a lullaby written by Loga and Azam for their infant son. And "Feraghi – Song of Exile" is close to the hearts of the two Persian émigrés, now living in California. Nine Heavens doesn't just cross cultural and stylistic boundaries, but the centuries as well. Drawing on medieval Persian poetry and 300-year old Persian folk songs, Niyaz has created a 21st century global trance tradition. Dance or trance – Niyaz’s Nine Heavens serves either purpose and will take listeners on a musical journey!

Since the late 1970s, the UK unit known as Incognito has taken elements of American R&B, soul, funk, disco and other high-energy sounds and merged them with the multicultural sensibilities of founder and frontman Jean-Paul Maunick, the Mauritius-born guitarist/producer of the band. More than just a UK band copping U.S. grooves, though, Incognito has built a rock-solid reputation for diversity by borrowing music and musicians from a host of exotic cultural centers: South Africa, India, Brazil, Cuba, Jamaica, Israel, France, Germany, Russia and so many more. An ongoing work in progress more than a band in the traditional sense, Incognito is a creative melting pot that captures the most infectious, dance-oriented beats from around the globe and distills them into an upbeat, high-octane blend.

With three decades worth of innovative recordings and live performances under their collective belts, Incognito present Tales From The Beach, a 15-track set of refreshing and uplifting songs that capture the best elements of the band’s classic sound: driving rhythms, high-impact horns and stirring lyrics delivered by an array of expressive vocalists.

Mar Dulce represents a new qualitative jump in Bajofondo’s evolution. The album was recorded in Buenos Aires, Montevideo, Los Angeles, New York, Tokyo and Madrid, and the multiplicity of locations reflects the cosmopolitan attraction of Bajofondo, as well as the eclectic list of guest artists: Elvis Costello, Mala Rodríguez, Nelly Furtado, virtuoso Japanese bandoneon player Ryota Komatsu, and several Rio de la Plata artists.

New tracks include "Pa’ Bailar" (where the tango and rock beats intersect in an irresistible danceable communion), "Fairly Right" (a happy meeting of the melancholy found in tango and the Beatles’ musicality, with Elvis Costello holding vocal duty) and "Zitarossa" (in which Bajofondo gets into the Uruguayan milonga, paying tribute to Zitarrosa with the participation of Toto Méndez, who was his guitarist), among other songs bound to become new classics in their repertoire. The entire album was recorded in real time and reflects the explosive live dynamic of the group.

Carefully compiled by KUDU, 'Back for More' is a well-crafted hybrid of adventurous reworks of stand-out selections from the trio’s acclaimed 2006 release, 'Death of the Party', alongside the previously released “Cannibal (Bite Me Mix)” (lifted from the group’s eponymous self-released 2005 EP), the highly sought-after (and long out-of-print) Boom Boom!! (Black Blonde Mix)” and the new track “Your Words”.

The Orb triumphantly return with 'The Dream, a brand new album that sees a return to the original spirit that spawned The Orb's first two classic albums, The Orb's Adventures In the Ultraworld and U.F. Orb. Working with former Dreadzone studio-wiz Tim Bran and guest artists, The Orb's Alex Patterson and Youth have created a work of stunning beauty and immediacy while never losing sight of their original quest to homage personal musical obsessions while exploring sonic territories few dare to tread. The Dream is one of those rare albums that weave its own unique magic after repeated listens.

The Dream was created without pressure from record companies or the studio. As with previous albums, the basic Orb nucleus is joined by guest singers and players, including System 7's Steve Hillage, who goes back to the earliest recordings, Battersea toaster-singer Eric Walker aka "The Corporal" and vocalists Aki Omori [the Japanese singer who appeared on 2001's Cydonia], singer Andy Caine from the W.A.U.! days, and renowned soulstress Juliet Roberts. With 'The Dream' The Orb is definitely back to form.

As Brazil celebrates its 50th anniversary of bossa nova music in 2008, there continues to be a streaming output of new talent and innovation from this rich musical country. A perfect example is Sonantes, a São Paolo based musical collective featuring the vocal talents of CéU in collaboration with Pupillo and Dengue, members of the Brazilian group Nação Zumbi, as well as Rica Amabis from Instituto and Gui Amabis.

Their unique debut release is a collection of atmospheric songs written for imaginary films and features guest stars including Siba, Lúcio Maia, Beto Villares, Apollo 9, and others. This special "labor of love" project brought together some of the most exciting artists from Sao Paulo's vital music scene in a creative atmosphere. The result is a collection of atmospheric songs that combine Brazilian, African, Cuban and electronic influences and sound like they were written for a series of lush imaginary films.

Whether you know it or not, chances are you already know Carmen Rizzo. As a musician, producer, remixer, and writer, Carmen Rizzo is a fixture on album credits and his eclectic career has seen him working with an incredible range of artists, including Paul Oakenfold, BT, Esthero, Alanis Morissette, KD Lang to Seal, Coldplay, Pete Townsend, Ryuichi Sakamoto, and Cirque du Soleil.

Now, with the release of his sophomore album Ornament Of An Imposter on his own Electrofone Music label, Carmen continues to surprise audiences around the world with his own distinctive sound, and with collaborations featuring such artists as Jem and Kate Havnevik, who give their beautiful vocal contributions to tracks such as “Ecouter” and “Sirens.” Already spinning heavily at tastemaker Area54, and with the support of iTunes, featuring the album on its home page. Ornament Of An Imposter showcases Carmen’s ability to blend beautiful organic sounds with ones that are proudly synthetic in a versatile down-tempo setting

A native Argentinean, Clavier has lived a lifetime of music. Born and raised in Buenos Aires, she was exposed by her mother at an early age to a constant stream of music ranging from classical, Argentinean folk, Bob Dylan, Joan Baez, singer-songwriters from Spain, to soul music from North America. She began singing in school choirs at the age of three, and at eleven was performing as a soloist for a state sponsored kids music and theater show to packed houses at Teatro de Las Provincias Argentinas , one of the largest concert halls in the city. After a short time acting with local troupes and companies, Natalia met a variety of musicians and joined an ethnic/electronic/acoustic outfit called Cosmic Ja-Ja. After some time performing live in Argentina she moved to Barcelona. In Barcelona, Natalia immediately hit the jazz circuit and launched herself into the electronic music scene by contributing vocals to house and techno singles and even singing live at raves in front of thousands. Quickly establishing herself in the local scene, she was introduced to a young guitarist and ex-pat from Argentina named Federico Aubele. The two became fast friends and Federico asked her to tour with him and eventually, to sing on his new album Panamericana. Having always sung in languages other than Spanish, Natalia felt a new and irresistible calling to express herself in her native tongue. With Federico's help and support, Natalia composed and recorded an impressive 10-track demo, which came into the hands of Eric Hilton of Thievery Corporation. He was immediately taken by her singing talent and within the month Natalia Clavier became ESL Music's newest solo artist, and first female artist.

One listen to Herbaliser’s new album, Same As It Never Was reveals that the title is more than a clever turn of phrase. The album sees the group expanding from its core production duo to a line-up of five permanent members. With the addition of frequent touring players Ralph Lamb and Andy Ross, a scratchy, live band funk sound replaces the deep digging loops and samples of previous albums. A heavy soul influence pervades, augmented by the addition of a fiery young vocalist, Jessica Darling.

Although Same As It Never Was may be their most song-driven album to date, Herbaliser has not overlooked their tradition of showcasing talented rappers from both sides of the Atlantic. In addition to Yungun’s meditation on technological advances on “Just Don’t Stop,” Toronto-based More Or Les and long time Herbz collaborator Jean Grae contribute rich, story-laden rhymes. They’ve also embraced their instrumental leanings, with fierce results. Drawing on the likes of John Barry, David Axelrod, and Quincy Jones, Herbaliser take those undertones and run them through their own unique grinder. Same As It Never Was reaches an epic climax with the gorgeously sensual final track, “Stranded On Earth.” The natural successor to long-time Herbaliser favourite “Moon Sequence,” this jazz-soul symphony features a stunning vocal performance by Jessica that nods to vintage 1970s Pink Floyd.