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The album will be released on August 7, 2026 via Storyville Records.At it's core, Repertoire reflects the long-standing musical familiarity between Heise and von Bulow. Working as equals in a stripped-down duo setting, the two musicians treat each piece as a flexible framework for improvisation rather than a fixed arrangement. The music unfolds in real time through dialogue, contrast, and a finely tuned sense of balance between structure and freedom.The repertoire draws from a wide range of jazz and pop standards. It includes So Tender by Keith Jarrett, Besame Mucho by Consuelo Velazquez, and Beatrice by Sam Rivers. From the pop and soul canon, the album features Overjoyed by Stevie Wonder, Rock with You by Rod Temperton, popularized by Michael Jackson, and One Day I'll Fly Away, alongside Angel Zoo by Danish band Phlake.Further repertoire threads include Velas, written by the great Brazilian composer and singer Ivan Lins. Always and Forever is part of the broader soul repertoire associated with Heatwave. The album closes with Bluesette, one of the defining compositions in the jazz harmonica tradition, also by Toots Thielemans, and a natural reference point for Heise's instrument.Mathias Heise has established himself internationally as one of the most original voices on the chromatic harmonica. In 2013, he won the Chromatic Harmonica World Championship, followed by the Danish Crown Prince Couple's Stardust Award in 2016 and the Ben Webster Prize in 2017. He was the first musician admitted to the Rhythmic Music Conservatory with chromatic harmonica as his main instrument, and has since released a series of critically acclaimed albums, including his 2023 Storyville quintet album, Mouth Games. Heise is a true virtuoso with a harmonic curiosity and stylistic openness. He can play anything!Guitarist Pelle von Bulow is an established figure on the Danish jazz scene. 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The two compositions have much in common. Not just their autobiographical inspiration and the theme of memory, but each represents a significant milestone in it's composer's career and life. While in Ondrej Kukal's case, the motif of remembrancehas a symbolic value, providing a reference to the illness that caused the author to lose his memory in 2003, in Jiri Teml's work, remembering is the main theme, as he uses musical images to recount memories of his life. Ondrej Kukal's Symphony No. 1, 'With Glockenspiel', holds symbolic significance for the composer. Kukal is a triple threat as conductor, composer and violinist. He wrote the composition in 1999, at the height of his career, during his tenure with the South Czech Philharmonic in Ceske Budejovice. From 1993, he also conducted the Czech Chamber Orchestra and between 1996 and 2003 served as concertmaster of the Prague Chamber Orchestra, performing at venues such as New York's Lincoln Centre, the Teatro Colon in Buenos Aires and Vienna's Musikverein. In 2003, shortly before he was to conduct the opening concert of the Prague Spring festival, he suddenly fell ill with viral meningoencephalitis, suffering from amnesia as a result. Luckily, he retained his musical memory and believes that it was what saved him in the end. Although Symphony No. 1 originated in the phase before his illness, Kukal speculates in an interview with Lubos Stehlik about it foreshadowing what was to come later: 'It occurs to me that I brought that fall upon myself with the symphony. I set it to music there, as if I had predicted the fall. Sometimes I can sense things in advance, and I translate this sense into music.' Musicologist Vlasta Reittererova describes the work thus: 'The music flows, rising and falling until it reaches a final outburst in a catastrophe, followed by a release of tension as it moves towards catharsis, like an ancient tragedy, reminding us of a funeral march when a solitarychime and a muffled strike of the tympani sound amidst the fading strings.' The symphony was premiered on 12 April 2000 in Ceske Budejovice. In 2005, it was awarded the annual prize of the Copyright Protection Association for Music Rights. The recording on this album is of a performance by the Czech Philharmonic in 2024, conducted by Jakub Hrusa. Jiri Teml's Labyrinth of Memory was commissioned by the Czech Philharmonic in 2020. Due to the COVID-19 pandemic, the premiere had to be postponed and did not take place until 5 February 2025 when the Czech Philharmonic performed it under the baton of Tomas Netopil to mark the composer's 90th birthday. Jiri Teml began his musical journey as an autodidact, but his career has been studded by encounters with people who inspired him and helped him on the way. He studied composition privately with Jiri Jarocha and Bohumil Dusek. For many years, he worked as music programmer at the regional station of Czech Radio in Pilsen and later on at the Prague studios and collaborated with children's choirs and folk ensembles. Through his work as music programmer he was in close contact with new compositional trends and techniques of expression, drawing on these in his own work. Since the 1960s he has been dedicating himself to the composition of classical music, drawing on the legacy of early-twentieth-century luminaries, such as Stravinsky, Prokofiev or Janacek, but also on the works of musicians from more recent generations, including Miloslav Kabelac and Gyorgy Ligeti. Jiri Temlis the author of concertos for diverse instruments, including violin, French horn, oboe, organ and harpsichord, and he has written many works for various chamber ensembles, as well as cantatas and several children's operas. A number of his compositions, including Labyrinth of Memory, are inspired by literature and other extra-musical impulses. Musical ideas surface mysteriously and take unexpected shapes, like memories. A key role is played by the percussions section, including the glockenspiel and vibraphone, and the timbre of orchestral is completed with the sound of the piano and celesta. 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Based on Wilhelm Muller's timeless poems, the cycle follows the emotional journey of a young miller's apprentice consumed by love, longing, jealousy and despair. Rather than presenting another traditional version of this beloved masterpiece, the artists return to the sound world of Schubert's Vienna through the use of a gut-strung Biedermeier guitar, revealing the songs with extraordinary transparency, fragility and emotional immediacy. In this setting, the famous cycle becomes what Miesenberger calls 'an authentic reflection of the soul of a broken man,' where voice and guitar move together with breathtaking lightness between hope and heartbreak.An essential part of this album's unique atmosphere is the remarkable recording environment itself: in sound engineer and producer Bert van der Wolf's celebrated High Street Studio in Heerewaarden, the Netherlands. Housed in a church renowned for it's natural acoustics, profound silence and immersive sound quality, the studio offered the perfect space to 'open new spaces' within Schubert's music. 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We jammed and jammed and jammed. I took the tapes home and ironed out some mutant tunes. We went back into the studio and burned them to tape live and then I took it home to Stu-Stu-Studio and did the vocals and bought in Tom Dolas \u0026amp; Brigid Dawson to put the finish on. Spice is always nice. Mixed it all up in the cauldron and thus we have a strange brew indeed. Floating in the smoke we have: a couple long jams, a couple short jams and a finale that'll dump a bucket of ear worms on you (reminiscent of \"the axis\"?). Dip your toe in organ rock and roll. So without further ado, we present to you \"OFF COURSE,\" an album wondering where the fuck are we and how did we get here. A signal dispatched out into the darkness. We are here. We are alive. And we are together. 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We jammed and jammed and jammed. I took the tapes home and ironed out some mutant tunes. We went back into the studio and burned them to tape live and then I took it home to Stu-Stu-Studio and did the vocals and bought in Tom Dolas \u0026amp; Brigid Dawson to put the finish on. Spice is always nice. Mixed it all up in the cauldron and thus we have a strange brew indeed. Floating in the smoke we have: a couple long jams, a couple short jams and a finale that'll dump a bucket of ear worms on you (reminiscent of \"the axis\"?). Dip your toe in organ rock and roll. So without further ado, we present to you \"OFF COURSE,\" an album wondering where the fuck are we and how did we get here. A signal dispatched out into the darkness. We are here. We are alive. And we are together. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 'Nature's Pill' re-examines some of Wishy's favored themes under new lights, jumping off from breakup songs to more abstract meditations on forlornness, romantic intention, lust. \"We take that stuff and almost write in a fictional, hypothetical frame of mind,\" Krauter explains. \"The songs capture romantic frustration and neurotic desire and the melodrama that ensues from simply being a person with emotions experiencing relationships and inner turmoil. 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On The Hard Truth, Wynonna isn’t letting go of either one, carrying everything she’s endured and reinventing herself as an artist.\u003c\/p\u003e\r\n\u003cp\u003eThis eleven-track tribute to deep sorrow and dogged persistence strips away layer after layer of the lush production that defined Wynonna’s previous recordings, delivering in its place her most personal and powerful work yet. ANTI- is proud to continue its tradition of embracing American legends and giving them a platform to reach new heights.\u003c\/p\u003e\r\n\u003cp\u003eThe Hard Truth has a major contributor in the form of producer Cactus Moser, Wynonna’s partner in music and life. Wynonna and Moser shared songwriting duties on The Hard Truth, and the resulting tracks were recorded to capture and compliment the raw power\u003cbr\u003ehe’d witnessed decades ago. What they’ve created together is an unvarnished elegy to the dead and the missing, an album that pays tribute to choosing love in the face of suffering. 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On The Hard Truth, Wynonna isn’t letting go of either one, carrying everything she’s endured and reinventing herself as an artist.\u003c\/p\u003e\r\n\u003cp\u003eThis eleven-track tribute to deep sorrow and dogged persistence strips away layer after layer of the lush production that defined Wynonna’s previous recordings, delivering in its place her most personal and powerful work yet. ANTI- is proud to continue its tradition of embracing American legends and giving them a platform to reach new heights.\u003c\/p\u003e\r\n\u003cp\u003eThe Hard Truth has a major contributor in the form of producer Cactus Moser, Wynonna’s partner in music and life. Wynonna and Moser shared songwriting duties on The Hard Truth, and the resulting tracks were recorded to capture and compliment the raw power\u003cbr\u003ehe’d witnessed decades ago. What they’ve created together is an unvarnished elegy to the dead and the missing, an album that pays tribute to choosing love in the face of suffering. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 'Nature's Pill' re-examines some of Wishy's favored themes under new lights, jumping off from breakup songs to more abstract meditations on forlornness, romantic intention, lust. \"We take that stuff and almost write in a fictional, hypothetical frame of mind,\" Krauter explains. \"The songs capture romantic frustration and neurotic desire and the melodrama that ensues from simply being a person with emotions experiencing relationships and inner turmoil. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 'Nature's Pill' re-examines some of Wishy's favored themes under new lights, jumping off from breakup songs to more abstract meditations on forlornness, romantic intention, lust. \"We take that stuff and almost write in a fictional, hypothetical frame of mind,\" Krauter explains. \"The songs capture romantic frustration and neurotic desire and the melodrama that ensues from simply being a person with emotions experiencing relationships and inner turmoil. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 'Nature's Pill' re-examines some of Wishy's favored themes under new lights, jumping off from breakup songs to more abstract meditations on forlornness, romantic intention, lust. \"We take that stuff and almost write in a fictional, hypothetical frame of mind,\" Krauter explains. \"The songs capture romantic frustration and neurotic desire and the melodrama that ensues from simply being a person with emotions experiencing relationships and inner turmoil. 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For the man born Che Jessamy, his rap moniker isn't some over-the-top rock star persona contrived for public consumption; it's just a name. What you hear on his records is really who he is: a heavy-tongued griot from East Flatbush, Brooklyn, with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he's gained in his lifetime, especially in the 14 years since he first made his debut with the Pro Era collective in the 2010s. \"When I was younger I would always be looking forward to 'next year' or saying to myself, 'When I do this, it's going to be this'... blah blah blah,\" says Chuck, describing how his definition of success has evolved since then. \"But then, as I got older, I have just been more grateful for the gift that it is to even make music [professionally].\" The elaborate title of his new album, Glory Of The King's Hand, speaks to his gratitude for the hand that life's dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That's something to be thankful for. Glory Of The King's Hand not only represents Chuck's matured attitude but also his matured sound. After a decade in the game, there's an emphasis on songcraft like never before: \"On this album, I made a lot of conscious [musical] decisions,\" he says. \"I made choruses, there's melodies, there's instrumentation... I really tried to just make better songs that people might want to hear again - that are more than just a good verse.\" Key to this refined approach was collaboration. Chuck is a proficient beatmaker in his own right, as evidenced by his production work for himself and artists like Joey Badass and Boldy James (see 2025's Token of Appreciation album), but this time around, he chose to be a producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself: \"I only did one beat on the album [\"Everyday\"], which is the least amount of beats I ever did on any of my albums.\" The results of this collective approach are astounding. Take, for instance, \"Breaking Atoms,\" a track built on the improvised-on-the-spot music of production trio\/band Human Error Club. A hypnotic Fender-Rhodes and head-nod-inducing drums are the perfect complement for Chuck and woods' visual verses and give way to Zeroh's psychedelic sung vocals and his exclamation, \"We the main soooource!\" Multifaceted newcomer Obii Say - Chuck's current favorite rapper - appears on two songs (\"Everyday\" and \"Miracle Miles\") and produces a third. The list of contributing producers is a who's who of underground sound scientists, including The Alchemist, Animoss, Theravada, Kenny Segal, Preservation, Child Actor, and Morriarchi. And while... King's Hand is in some ways a sample of what this section of the underground looks like in 2026, what Chuck brings to the table is uniquely Chuck Strangers. \"I had to do my own thing!\" His resolve is in part due to the influence of his legendary mentors, like the late Ka and The Alchemist, who each carved out their own distinct lanes. \"There's a lot of Roc Marci's, there's a lot of Earl Sweatshirts and you've got many Alchemists out here, but I have to do my own thing that might look a little different from everybody else's shit... I can just be myself.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eTrack 1\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eIntro\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eEveryday feat. 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Recorded in early 2026 at ARDA Recorders in Porto and produced, mixed, and mastered by Jaime Arellano (Ghost, Ulver, Behemoth), TRAVO's third studio album marks a shift away from the fantasy themes of the band’s previous record, 2023’s ‘Astromorph God’, into something much more personal, palpable, and grounded in the anxieties of the present time.\u003c\/p\u003e\r\n\u003cp\u003eDue for release October 2nd 2026, ‘WASTELAND’ arrives off the back of three years spent touring heavily around Europe, with their notoriously face-melting live show captured on a blazing KEXP session filmed whilst on the road. Looking to keep riding that high, the band took advantage of a rare break in their touring schedule and headed straight for the studio with a newfound intensity and urgency: “The recording session was booked without any composed material, and the whole album ended up being written in a little over one intense month of rehearsals. The pressure of wanting to take a step forward with the next album started to creep in and caused some internal friction. This feeling of urgency naturally carried over into the songs and gave them a character they likely wouldn’t have had in a more relaxed writing environment.”\u003c\/p\u003e\r\n\u003cp\u003eAcross its seven tracks, ‘WASTELAND’ explores themes of “techno-anxiety, disconnection, dystopia, love, death, rebirth, and the search for collective spirituality”, note the band. Each song is loosely inspired by a different section of T.S. Eliot’s poem ‘The Waste Land’, “whose themes and motifs feel especially relevant today.” Musically, the album incorporates dark psychedelic and industrial influences, fusing them with the band’s more familiar elements: loud and corrosive fast-paced songs intertwined with crushing, slow-burning epics. The vocals range from catchy falsetto melodies to full-on growls and screams. 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