"‘Bursting Out’ 3LP breakout of Jethro Tull’s first live album ‘Bursting Out’, from ‘Bursting Out (The Inflated Edition)’ featuring tracks released months prior in the 3CD+3DVD expanded edition, newly remixed by the legendary Steven Wilson. This version will be released 20th September 2024.
This live album was recorded at various locations during the European Heavy Horses tour in May and June 1978. In addition to the original tracklisting, this 3LP features various Madison Square Garden live performances.
Jethro Tull’s Ian Anderson said: “A live extravaganza from the 70s Jethro Tull, this was recorded over several nights in different venues on a portable 8-track tape recorder and transferred to 2” multitrack when I got home after the tours. I had to listen all through to many shows and pick the best live versions. But much of it was, at least, from the concert in Bern, Switzerland where dear Claude Nobs came to introduce the band in his inimitable style. Also featuring on this box set collection is the live concert from Madison Square Gardens recorded a few months later and shown live on BBC TV in the UK. A scary experience for the band as it was, we were told, the first time a live rock concert had been the subject of a live satellite broadcast. The band lineup at this time was a fine-tuned machine and, although missing the unwell John Glascock for the MSG show, it serves as a fine testimony for the many wonderful shows we did in the 70s, before general touring fatigue and burn-out began a year or so later. Enjoy vintage Tull at its 70s best!”"
Available for the first time on Double 180g Black Vinyl.
Fully remastered at Abbey Road.
Includes 7 rarities chosen by Johnny.
Brand new art direction.
Released in 2003, Boomslang was Johnny Marr’s first solo studio album. After his departure from The Smith in 1987, Marr spent a number of years with the likes of The Pretenders before recruiting Zak Starkey (drums), Alonza Bevan (Bass) and more to form The Healers in 2000. Recorded at Clear Studios in Manchester, with James Spencer (New Order, The Charlatans), Boomslang comprised of eleven tracks that combined his signature guitar playing with heavy psychedelic rhythms."
"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian
Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.
In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
.
Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”
She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”
Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.
Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."
"A Music from the Netflix Film THE DIRT A 14 Classics + 4 New Songs recorded for the Soundtrack A Including “The Dirt (Est. 1981)” Featuring Machine Gun Kelly
"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...
“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.
""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""
The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”
What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""
After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"
"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...
“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.
""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""
The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”
What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""
After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"
"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music
“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian
July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.
“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.
THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.
Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
"
20th Anniversary reissue. • Available on CD, and for the first time ever, on LP. • Includes new liner notes from Sam. • Contains “Reflecting Light” and “If I Could Write”—both featured on the fan- and streaming-favorite Gilmore Girls. Since the late 1980s Sam Phillips has been a poetic voice in the alternative/pop realm. She recorded a series of acclaimed albums for Virgin Records, including the Grammy-nominated Martinis And Bikinis (expanded and reissued by Omnivore Recordings in 2012), all produced by her then-husband T Bone Burnett. At the turn of the century, Sam was invited by Amy Sherman-Palladino, who was a fan of Sam’s music, to score her new television series, Gilmore Girls, on a new network, The WB. Sam’s unconventional score featuring vocal and acoustic guitar was likened to an onscreen character itself and dubbed “the La La’s” by the growing legion of Gilmore Girls fans. Around that time Sam signed a new deal with Nonesuch Records and continued to build her stellar catalog. In 2004, Phillips released A Boot And A Shoe, featuring guest artists including Burnett, Marc Ribot (Tom Waits, Elvis Costello), Mike Elizondo (Fiona Apple, Eminem), legendary drummer Jim Keltner, and the Section Quartet. The album contained 13 tracks including “Reflecting Light” and “If I Could Write”—both featured prominently in the Gilmore Girls original series and, most memorably, the Netflix revival Gilmore Girls: A Year In The Life. 2024 marks the 20th anniversary of A Boot And A Shoe and to commemorate the anniversary, it is being issued for the very first time on vinyl, and reissued on CD, both with new liner notes by Sam. On the occasion of its 20th anniversary, now is the time to reintroduce this incredible record, and on the format fans of Sam and Gilmore Girls have been waiting for.
"Discover Thomas Dutronc's new album. 4 years after ""Frenchy"", Thomas Dutronc is back with new songs tinged with guitar, catchy rhythms, joie de vivre and nostalgia. Included is the new self-titled single ""Il n'est jamais trop tard"". Reviews in London Macadam, R2 and L’Echo
Ads London Macadam R2 and L’Echo"
In celebration of Mule Variations" and ANTI- Records" 25th Anniversary, the GRAMMY Award winning album is being re-issued on 180g Silver vinyl. The 1999 release of his thirteenth studio album Mule Variations offers the most complete picture of his artistry while also marking the beginning of the indie label ANTI- Records. On this album, edgy stomps, humor and experimentation are interspersed with some of the most beautiful and personal songs he"s ever written.
For years, Benjamin Herman has formed a frighteningly tight trio with Ernst Glerum and Joost Patočka. Whether its compositions from Misha Mengelberg, jazz evergreens or original works, these are all interpreted with vision and “rollicking virtuosity’’ (Volkskrant). Erupting from Herman's creative spirit and the two worlds of Glerum (ICP Orchestra) and Patočka (Rita Reys), the formation’s work is always of the highest class.
The new album Trouble with the young and exceptionally talented singer/pianist Daniel von Piekartz adds a new chapter to their collaboration. Songs from Fats Waller, Henry Mancini and Sly Stone get a postmodern make-over that will inspire many concert-goers to willingly miss that last tram home. And naturally, the musical fireworks that we’ve come accustomed are still
ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.
ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.
Build Buildings is Brooklyn, New York, based Ben Tweel. He makes music with computers, instruments and household sounds. The sounds on “Ecotone” are sourced from acoustic guitars, lap harp, ukulele, mbira, and clarinet, and played through the gestural iPad program Samplr. He has released numerous albums since 2004, most recently 2022’s “Bring in the Lampstand and Light Its Lamps” on Audiobulb Records.
MENSCHENFRESSER" heißt das aktuelle Album von RAWSIDE, mit dem die Band es sogar auf die #81 in den deutschen Albumcharts geschafft hat. Deshalb muss nun auch eine Nachpressung sein. Ink Spot Vinyl bedeuted knallroter Kern und außenrum schwarz-rot gemischt. Fünf Jahre nach dem wahrscheinlich persönlichsten Album "Your Life Gets Crushed" gibt es neue Songs der Hardcore-Punks aus Coburg. Songs, die wieder politischer, wütender und angriffslustiger sind. Menschefresser meint hier emotionalen Kannibalismus, psychischer Druck, der ausgeübt wird, wie Menschen sich verhalten, Ellbogen auspacken wenn sie nur versuchen, sich ihren eigenen Vorteil zu verschaffen. Oder Menschen, die denken, sie wären der Mittelpunkt der Welt. RAWSIDE werden nicht müde, den Finger in die Wunde zu legen und sich mit korrupten Wirtschaftsbossen, selbsternannten Verschwörungstheoretikern, rechten Politikern oder stumpfen Wutbürgern anzulegen. Die 13 neuen Songs von RAWSIDE sind eine volle Breitseite, musikalisch kommt es laut und fordernd zwischen Hardcore, Metal und Punk daher. Die Wucht der Songs hat seit dem letzten Album ein neues Level erreicht. Das liegt vielleicht auch an der Frischzellenkur in der Besetzung. Sänger/Shouter Henne ist das einzig verbliebene Gründungsmitglied nach mehr als 30 Jahren Bandgeschichte. Seit Sohn Justin am Schlagzeug ist gerade mal 23 Jahre alt. "RAWSIDE ist zum Glück keine One-Man-Show", sagt Henne. "Das waren wir nie und wollen wir auch nicht sein. 2024 hat die Band beim LOIKAEMIE-Label Fettfleck angeheuert. "Für uns war es ein Schritt in Richtung Selbstverantwortung", erklärt Henne. Bei Fettfleck sind wir in alle Prozesse eingebunden. Und das ist doch die Idee, die hinter dem ganzen Punk- und Hardcore- Gedanken steckt. So bleiben RAWSIDE auch nach über 30 Jahren Bandgeschichte ein Grundpfeiler der deutschen HC/Punkszene. "Menschenfresser" ist ein Biest von einem Album, dass die Vorfreude auf die Open Air-Saison nochmal steigert. Wir lassen schon mal das Dosenbier zischen. - Wolfram Hanke (Ox, Zündfunk, Der kosmische Penis)
Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot, Mapstation). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music - Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.
Combining the signature soundscapes of Scorn with tartareous textures, the current album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. 2024 vinyl version on orange coloured vinyl!
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
The 2nd album from the Franco-Swedish songwriting duo. An album that blends airy poetry and pointillist pop, accompanied by the groove of drummer Larry Mullins (Swans, Nick Cave, Iggy & The Stooges redux) along with superb brass arrangements.
After their internationally successful releases 'Mosaic' and 'Babel', Dutch band Lesoir launches their new full-length album 'Push Back the Horizon'. With this album, the band shows its most melodic side. 'Push Back The Horizon' is characterised by traditional song structures, catchy hooks and a groovy rhythm section, with the pinch of prog this five-piece is known for. The 10 songs are inspired by the collective challenges humanity faces and the glimmers of hope from which we draw positive energy to push boundaries. 'Push Back The Horizon' was produced by John Cornfield, known for his work with Muse, Kashmir, Razorlight, Supergrass, New Model Army and Ben Howard.
Black Is Golden', the first full length release from Wyn Starks, isn't just the name of a record, it's his truth as a black man living in modern America. "I decided to call the album 'Black Is Golden' because throughout history black and brown people have gone through so much injustice in this country and yet contributed so much to society. I think it's important that we celebrate each other and all our differences." But the songs aren't all centered on social justice- the album features upbeat tracksk like "Circles" and "Dancing My Way" which showcase Stark's vocal range and sunny disposition; juxtoposed with "At The End Of The River", a deeply emotional track about the tragic loss of Wyn's twin brother. Starks' feels his journey to self-love is captured in this body of work. He shares, "I'm learning how to celebrate these accomplishments in my life and to love myself, flawa and all.
REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter
The single features a collaboration between Studio Kosmische from UK and Cloud Canyons from Italy. Side A is a rework by Studio Kosmische of “Under Neon Stars”, a track from Cloud Canyon’s 2023 debut album “Dreaming Of Horses Running In Circles”: by adding a few parts and alchemically blending the original elements of the song - the relentless motorik pulse, the ethereal female vocals, the multilayers of monophonic analogue synths - Studio Kosmische’s version moulds a shrouding and lilting veil on the 9-minutes long original track. Side B features a brand new track, “Black Fruit”, also sprung from the creative dialogue between the two bands and clocking at about 9 minutes side-long. Born as an instrumental piece by Studio Kosmische, “Black Fruit” developed in a full song thanks to the vocal additions by Michelle Cristofori, Laura Storchi and Stella Baraldi (Cloud Canyons’ singers) and a rich yet minimalistic array of instrumental parts by Studio Kosmische’s Dom Keen, who ingeniously shaped the keys harmonies and rhythmic textures around the vocal lines. Accomplished by some subtle electronics treatment by Cloud Canyons’ Nicola Caleffi, “Black Fruit” ideally complements “Under Neon Stars” as a two-sided creature, hanging somewhere between krautrock and electronica.
This LP is a compilation of songs from five different digital-only demo collections I released on Bandcamp between 2021 and 2023. I relied on the ears and judgment of my old friend Dom at Feral Child to curate this comp, allowing him to choose his favorites from over 60 songs. While I might have chosen an entirely different batch of tunes, I was happy to defer to Dom, as I’ve never had much perspective when it comes to assessing my own material. All of the songs on this album were recorded at home, mostly on the same day they were written. Most of them are first takes, intended to provide a template for a theoretical band to follow if and when the songs were to be re-recorded “properly” at a later date. A few have since been re-recorded for studio records, and a few others remain in contention for future studio records.
2 kraut tinged side long epics, one with a tip of the hat to Cluster | Roedelius & Moebius, the other way more lo-fi, kinda dirtier more Throbbing Gristle, Sheffield electronic scene etc....
Cheersquad Records and Tapes are exhilarated to announce the forthcoming new album by Oz-punk tearaways the Hard-Ons, “I Like You A Lot Getting Older” I Like You A Lot Getting Older will be the third album by the band's current line-up of Blackie, Murray, Ray and Tim, and follows 2021's Australian top 5 debuting I'm Sorry Sir, That Riff's Been Taken and last year's the Australian Top 30 debuting Ripper '23. An exclusive limited edition green vinyl pressing (250 only, with different colour on the cover) will be available via the album's UK distributor Forte. The new album's release will precede the band's recently announced 40th Anniversary Australian tour (and coincide with their 40th Anniversary European tour), and the premiere of the feature length documentary on the band, The Most Australia Band Ever. Today's announcement follows the release of the new single and video "Buzz Buzz Buzz". It's the first single from the Punchbowl band's forthcoming long-player, their third album since co-opting You Am I's Tim Rogers in 2021. Guitarist Peter 'Blackie' Black describes the song as "Our best collaboration so far. When Tim said 'I wanna get a little left of centre with the melody on this,' I was BLOWN away (but not surprised :-))" The video was shot live last month as Hard-Ons opened for Radio Birdman by Jonathan J Sequeira, director of the Birdman documentary Descent Into The Maelstrom.
Though she was Stax Records' Queen of Soul (and Otis Redding was her king), there was much more to Carla Thomas. In 1967, even while being promoted by the name of her most recent album, The Queen Alone, she was expanding her sound, developing a cabaret act that showcased a mix of genres and styles and that was built around her beautiful voice. She was exploring new vistas when these two sides were recorded.
Isaac Hayes wrote "Loneliness". Carla's suave delivery evokes Diana Ross, and the shiny brass horns call out a Burt Bacharach arrangement as much as Stax. This is Carla with a nice polish on the groove.
Labelmate and friend Deanie Parker wrote "If It's Not Asking Too Much". A sparer presentation, the organ drives the tango rhythm and also—a second keyboard, I think—swells behind Carla, everything entwining and deepening the song's brooding tone. This is the kind of side that can both start your night or finish it.
Carla Thomas has got it all.
Vinyl Super Sound Single mit vier exklusiven 4 Promille-Songs aus 2016, klassich schwarze 12"-Single! 2016 alles auf "Reset" bei 4 Promille und zurück auf Start? Nein, warum auch? Aber wer so viele Jahre eine feste Instanz in der subkulturellen Musiklandschaft ist, muss sich zwangsläufig weiter entwickeln, darf aber auch Altes mit Neuem verbinden, oder? Nach dem 2014er Erfolgsalbum "Vinyl" gönnte sich die Band eine ausgiebige Studiopause und spielte sich lieber live die Finger wund. Da kam die "Reset"-EP. Vier Songs wurden aufgenommen. Der Opener ,Viva la Fifa" ist ein sarkastischer-Stinkefinger gegen eben diese Organisation! Bei ,Reden ist Silber, Schreien ist Gold" gibt's old school Punkrock und Melly tobt sich am Mikro dementsprechend (ein letztes Mal im Studio vor ihrem Aussstieg 2022) aus! ,Treu" ist dagegen die Brücke von der ersten Single ,Jungs von Nebenan" bis zu heutigen Klängen, denn natürlich ist sich die Band trotz vielen musikalischen Facetten immer ihren subkulturellen Wurzeln verbunden geblieben. Mit dem abschließendem Tom Waits-Coversong endet ,Reset" dann auch ohne Ausfälle!
Das 2020er Album von Tiger Lilly Marleen und ihren Bonsai Kitten! ,Love and let die" vereint den Spirit von Woodstock und Wacken mit all der subkulturellen Attitüde, die man an dieser großartigen Band so liebt!!! Ein energiegeladener Punk, Riot Rock, Metal,Blues & Billy Meltdown über Liebe, Tod & Hoffnung 11 starke Songs inkl. Singles ,Now or never" und ,Limit to your love"! BONSAI KITTEN feiern mit ihrem neuen Album "LOVE AND LET DIE" eine musikalische Wiederauferstehung und zeigt völlig neue Facetten der Band. Wenn Tiger Lilly Marleens charismatische Stimme auf Marc Reigns (Morgoth / Destruction) hemmungsloses Metal-Schlagzeug und Wallys (Psychopunch) raue Blues-Rockgitarre trifft, abgerundet durch Spoxx'(Feeling B) Bass Sound. Die Songs glänzen durch Spontanität und Härte, aber auch durch Intimität und eine extrem spannende Vielseitigkeit, während sie die Liebe, den Tod und die Hoffnung behandeln. Dieses Album ist pure Leidenschaft, zieht in seinen Bann und sprengt musikalische Grenzen. Ein "Limit (to your love)" - das vorab ausgekoppeltes Video - gibt es für BONSAI KITTEN dabei nicht ohne das Wesentliche aus den Augen zu verlieren: Jeder Song ist ein packender Treffer.mal ins Herz, mal in die Seele, mal "direct in your face"! Purpurfarbenes Vinyl!
Die vier Berliner der Band BONSAI KITTEN machen, was sie wollen. Das ist auch der Grundtenor ihres 2017er Albums MINDCRAFT. Der Sound ist kompakt und huldigt energischem Riot-Rock. Das treibende Schlagzeug und die kühnen Gitarren-Riffs werden jetzt durch eine drängende dreisaitige Bass-Gitarre ergänzt, perfekt abgerundet durch Tiger Lilly Marleens schöne Stimme und scharfe Zunge. Diese Band hat Spaß! Das zeigen auch die schweisstreibenden Liveshows, die BONSAI KITTEN jedes Jahr quer durch Europa führen. Wer also denkt, Gitarren-Musik sei tot, kann jetzt aufatmen, denn BONSAI KITTEN hauchen dem Genre frisches Leben ein. Nun wieder erhältlich, Vinyl klassisch schwarz.
CO-OP REISSUE by NOT LOST RECORDS and RUGGER BUGGER !! ** Black Vinyl ** 500 Copies // The AK47's or the Tottenham AK47's formed in the late 80's / early 90's in North London. They turned up on the London squatting gig scene fully formed and ready to go, fusing punk, ska and reggae with a strong and simple political, socio-anarchist message. The band were instantly popular in London and sat very much next to Radical Dance Faction, Back to the Planet and Culture Shock. Their one and only release was the album "Don't call me Vanilla" which was originally released in 1991 by Rugger Bugger Discs. The album was recorded and produced at The Refuge studio in Reading by Jim Warren. Built around a solid dub-punk backdrop with some atmospheric flute squalls and FX's weaving in and out of the mix while lyrically remaining true to their anarcho roots. Over the years the album's legacy has grown and yet has never been reissued. Finally 32 years after its release the band, Sean from Rugger Bugger and Not Lost reissue this gem in an exact replica. No coloured vinyl - just black vinyl with the same Lyric Insert. This reissue has been remastered from the original tapes.
“The Firebird” is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of
Sergei Diaghilev’s Ballets Russes company based on the Russian fairy tales of the Firebird and the blessing and curse it possesses
for its owner. The Firebird’s mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed
“leit-harmony”. Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando,
and flutter-tonguing. Set in the evil immortal Koschei’s castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird.
Recorded in 1961 by The Columbia Symphony Orchestra.
This version in limited pressed on Solid Orange vinyl.
