Marking 25 years of boundary-pushing grooves, New Tomorrows is a fitting evolution for Sola Rosa, blending live instrumentation with studio finesse. While Andrew Spraggon hints at a return to solo electronic production, this EP stands as a celebration of collaboration, featuring a powerhouse lineup of musicians and vocalists. Spraggon’s musical journey has been shaped by a wide range of influences. His father’s Yacht Rock collection and his mother’s love for ABBA and the Bee Gees introduced him to pop melodies, while his brothers guided him toward post-punk, punk, and reggae. His first real obsession was with ’80s synth-pop, especially Depeche Mode. In his teens, he dived deep into goth bands like The Cure, Bauhaus, Cocteau Twins, and Siouxsie and the Banshees, alongside guitar-driven groups like Magazine, Wire, and The Fall. Later, discovering soul, funk, reggae, R&B, and blues added further richness to his musical palate. These eclectic range of influences are stitched into New Tomorrows, creating a blend of sounds that feel natural yet unexpected. Tears Roll Down is a standout, with AKOSIA’s smoky vocals weaving through a laid-back acid-jazz groove. The Sun Doesn’t Shine introduces Joe Probert, whose vintage soul-funk delivery feels warm yet forward-looking. Get On ups the energy with sharp drumwork (perhaps Julien Dyne?) and hypnotic flute runs, while Cypress Tree leans into neo-soul, with AKOSIA once again taking center stage. The title track, New Tomorrows, evokes early-2000s café culture with jazzy flutes, warm keys, and a bassline that holds steady throughout. Heaven Could Be Close brings Probert back on falsetto duties, floating effortlessly over deep, groove-laden rhythms. The track’s slow pace allows its richness to take center stage, adding depth to the EP’s journey. Spraggon’s decision to step away from band-driven arrangements makes this release feel more personal and inspired, New Tomorrows marks a shift, with live musicianship and collaboration at its heart.