Cerca:a song for you

Produced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, High School sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. In conjunction, he announces Tim Heidecker Live! Featuring Tim Heidecker and The Very Good Band, his first two-act tour of comedy and music. Since 2016, Tim Heidecker has chronicled the annals of adulthood on a series of supreme singer-songwriter albums. The crushing devastation of divorce and the existential malaise of middle-age, the minutiae of home ownership and the ritual of family vacation, child rearing and global warming: Heidecker has handled it all with humor and heart. But, there’s one pivotal lodestar of human development he has yet to mine that’s right, High School. First single “Buddy” is a composite of a few woebegone friends, which finds Heidecker reminiscing on the familiar tragedy of the adolescent stoner, manifesting the destiny of undiagnosed depression and parents who didn’t care much. The song itself is a jangly delight, but it’s hard not to mourn for “Buddy,” then re-count whatever blessings you may have. After initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else. Back at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.

Experimental and improvisational psychedelic rock, for fans of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers arguably are the perfect band for all the true "heads" out there. The New Haven quartet have been at it for 15 years, and the "newest" lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. "World What World" is the band's eighth album and third for Trouble In Mind Records. "World What World" is the newest chapter of the group's continued explorations and efforts to refine their sound. The lyrics of "World What World"s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener "I Wanna See The Sun" and "Final Sunset" lay out what's in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through "Then The Moon" when the tune's lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic "Haunted Eyes" - beckoning you with a mournful sidelong glance. Side Two opens with "Staggering With A Lantern", an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group's guitarists. The sticky lyrical hooks and sideways jangle of "Way Back To The World" and "The Last City"s midnight-hour, mellow singe come next, before concluding "World What World"s journey with "Flock of Swans". The song is the perfect closer and culmination of the album's mission statement. The subjects that populate Greene's songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section's otherworldly chemistry and Battalene's masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to »Image Langage«: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises? —to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to »Image Langage« is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in »The Lake is Speaking,« a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. "I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars." At other times, listening to »Image Langage« is more like being in a theatre, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On »Pieces of Sylvia,« a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that "Image Langage" is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and langage and narratives, a kind of deliberate, dimensional world-building in sound.

»Image Langage« is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channelling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

»Image Langage« is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The French electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, MIDI instrumentation, and snippets of essayistic langage in both French and English. Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

Greek genius Christos Chondropoulos’ stunning debut for The Death of Rave finally lands on vinyl - an incredibly imaginative masterwork rich with quartertone melody and meticulously chiselled production, shaped into a future-folk songbook that deeply expands on his wonders for 12th Isle and The Wormhole. Highly recommended if yr into Paul DeMarinis, Rashad Becker, Ryuichi Sakamoto, Kara-Lis Coverdale's 'Aftertouches', Jonathan Bepler’s soundtracks for Matthew Barney, Black Sabbath or Aphex Twin. Floors us every time!

Continuing Christos’ singular fascination with, and reappraisal of, Ancient Greek modes, ’Relics’ further excavates the deeptime topography of Greek music prior to the ban of “oriental” or 1/4 tone microtonal modes nearly 100 years ago.

Clandestine, euphoric, hyperreal and otherworldly; it takes shape as faintly familiar forms of new age folk, avant-techno and metal musicks, but with an alien appeal that treats the past almost like another planet, never mind a foreign land. Christos studiously raids the past for lost treasure, navigating his tuned instincts as an improvising percussionist, and lover of non-Western composition, to create a uniquely absorbing soundworld that resembles an AI’s dreams after ingesting encyclopaedia entries on thousands of years of Greece prior to 1936. In the process, the album acutely questions his and our relationship to the past, and what has become lost in translation with reliance on prelaid templates and the “wisdom” of elders.

Bursting to life with the iridescent arps and new age AI chorale of ‘First Love Fereter’, and concluding with bone-clacking raverie of ‘Jungle X’, the album offers a stunning advance of the themes and aesthetics in Christos' previous records, from the self-released free jazz of ‘Fingerpainting’ (2013) to 2021’s 12th Isle released ‘Athenian Primitivism.’

Thanks to meticulous detailing, ‘Relics’ allows a finer play of textured light and almost tangible - yet entirely generated - voices into his music: most strikingly on the sublime songcraft of ‘Regret’ and ‘I Dream Of You’, while the likes of ‘Asham’ are bathed in deeply uncanny atmosphere, and his percussive proprioceptions are most heightened in the delirious battery of ‘War Horns’ and ‘Sacrifice’, with ‘Cyber Crust’ calling up demonic, cthonic pagan spirits resembling Black Sabbath undergoing regression therapy.

When the whole world collapses around you, sometimes the only thing you can do is stomp it all loose. Erin Anne's second album, the gleaming, electrified Do Your Worst, charts that uninhibited romp through disaster. Written amid the rubble of personal grief and professional disappointment, later exacerbated by the devastation of a global pandemic, the record deepens Erin's venture into the blur between human and machine, adding a new roster of digital instruments to the mix. Drawing on dark, glossy '80s synthpop as well as the unabashed bombast of bands like The Killers, the L.A.-based songwriter deploys a cyborg persona to articulate a feeling of displacement from the world as a queer artist struggling to survive the machinations of late capitalism. With bright, interweaving synthesizers and ripples of Auto-Tuned vocals, Do Your Worst poses a dare to the world: Whatever you have in store, I'll take it standing.

Erin began writing her second album not long after adding a MIDI keyboard and vocal processing hardware to her home studio setup. While exploring her new gear, she found that she could work in the same vein as the artists and producers she loved the most. Do Your Worst takes inspiration from the music of Patrick Cowley, the disco and hi-NRG producer best known for working alongside Sylvester. Erin was taken by Cowley's use of vocoder on the 1982 album Mind Warp, where his distorted vocals create a queer, mutant subjectivity. That album rang out against the cataclysm of the AIDS epidemic; Erin found resonance in Cowley's music during the present-day pandemic. "I have found the most catharsis and the most safety in listening to the music of people in really, really horrific circumstances making something lasting and profoundly beautiful," she says.

Throughout Do Your Worst, which was mixed by Sarah Tudzin of Illuminati Hotties, songs like "Typhoid Mary" and "Florida" reckon with loss, despair, and abjection. "This Hungry Body" sears through pandemic-era touch starvation, while "Mirror Mirror" attends to the noxious but necessary funhouse of social media. On the playful, guitar-driven “Eve Polastri’s Last Two Brain Cells Have a Debate,” Erin uses the spy thriller TV show Killing Eve to explore queer codependency and masochism. Among these fraught subjects, Erin Anne finds opportunities for release. She stages internal conflict on a scale so massive that its details start to become clear; if they don't resolve, they at least become palpable.

"I’m very much a maximalist when it comes to production. I like vast landscapes. I like a stratosphere and a core -- I want the bass to be beneath the floor," Erin says. "This record is, in a lot of ways, a collection of some of the first moments that I was technologically able to achieve accurate renderings of how I hear my own emotional world."

Something's happening in country music. Newer artists and younger audiences are embracing instrumentation, vocal stylings and song structures long thought drowned in the ocean of slick, snap-track productions. Not easily dismissed as merely regional or a novelty throwback, the trend could be on its way to full-blown movement. If so, Kimberly Kelly's Show Dog Nashville debut album may prove to be the clarion call. Either way ... she's not asking. I'll Tell You What's Gonna Happen is more than her (abbreviated) album title, more than a reference to her connection with a Country Music Hall of Famer, and much more than a historical footnote. Rather, it's a statement of musical confidence earned the only way that happens: talent, work ethic, experience, vulnerability, and courage. For Kelly, it's all of a piece. "I like to think of it as a sub-genre of country music called 'country music,'" she says with a wink. A native of Lorena, Texas, Kelly has multiple connections to the Nashville industry. She has also been unafraid to defy convention. "This is not my first rodeo," she says of her label debut. "I worked really hard in Texas before I came to Nashville. I wrote songs, put out records, did a radio tour, and played every weekend while earning a Master's degree. They say don't have a 'plan B,' but I watched my mom struggle to get that next level of pay. My mom earned her bachelor's degree when she was 60, so school was important to me to know I could take care of myself.

Justin Time is a name behind so many old skool anthems, both as a solo artist, and as part of Triple J, but that also means that he has a selection of unreleased tracks! Thankfully he still had some of them saved on some old DAT tapes. A selection of original breakbeat hardcore that for one reason or another never got a full release. These tracks are breakbeat hardcore that featured on dubplates, and on mix tapes, but never got the full vinyl release back in the day! All 4 tracks are very Justin Time in style but the track JT Goes North has been on so many peoples wish lists for about 25 years now as it was featured on a compilation CD and nowhere else!

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

"At the end of 2021, POWERWOLF – the most successful German metal band to date – fascinated with a streaming event of unprecedented dimensions. Those who thought they had seen everything in the live sector were instantly proven wrong with unmatched audio production and visuals that can only be described as simply breathtaking. This summer, on July 8, 2022, this new benchmark for music streaming events will finally be available to view any time you crave. THE MONUMENTAL MASS - A CINEMATIC METAL EVENT will be unleashed on DVD, BluRay and many other physical formats! POWERWOLF have stood at the peak of superlative, epic metal moments for years, but what they present with this streaming event surpasses anything seen before. After months of detailed work, a story was crafted and presented in several chapters based on the stunning music and elaborately staged cinematic scenes. All show effects, actors and stage settings work hand in hand with each other and bring the medium of live music to a level never seen before. From battles with clergy to stories of nuns, monks and burning angels, cinematic images immediately capture the viewer. Each song has its own stunning set designed and is perfectly staged - the production and size alone are unparalleled. One live premiere of a POWERWOLF classic follows the next, one after another – all with impressively produced sound design.

Erstmals auf Platte: Die beiden Alben 'Wood, Brass & Steel' (1976) und 'Hard & Heavy' (1980) und damit die gesamte Diskografie der Disco-Formation Wood, Brass & Steel mit Doug Wimbish (bass) und Skip McDonald (git), die später mit Keith LeBlanc die Sugarhill Records-Houseband bildeten, bevor sie mit Adrian Sherwood Tackhead gründeten. Angereichert mit 5 bislang unveröffentlichten Aufnahmen eines nie erschienenen, dritten Albums. Mit den oft gesampelten Tracks 'Funkanova' (DJ Sneak, The Bucketheads, Black Science Orchestra), 'My Lady' (Pete Rock), 'My Darling Baby' (Erykah Badu), dem Ronnie Laws-Klassiker 'Always There' sowie der Extended Version von 'Welcome To The Party' (bislang 12inch-only). Remastered von den Original-Mastertapes.


Wood Brass and Steel waren die letzte und berühmteste Hausband der von Sylvia und Ehemann Joe Robinson geleiteten Labelgruppen All Platinum und Sugarhill Records, doch dieses Album wurde nie zuvor auf LP-Vinyl veröffentlicht. Die Musiker nahmen die Songs "Hey That's What You Say" und "A Love of My Own" auf, und als das Astroscope-Label von All Platinum sie als 7"-Single veröffentlichte, wurden sie zu Wood Brass and Steel. Die Gruppe vervollständigte dann dieses Album, das 1973 auf Astroscope LP5002 erscheinen sollte, aber nie veröffentlicht wurde.

Die Besetzung der Gruppe zu dieser Zeit ist nicht ganz klar, aber mit Sicherheit gehörten Harold Sargent, Bernard Alexander alias Skip McDonald (er nahm auch unter vielen anderen Kombinationen dieser Namen auf), Herman Tudi White am Bass und Otha Stokes am Saxophon und an der Flöte sowie Randy Bost an der Trompete dazu. Doug Wimbish und Craig Derry stießen zu dieser Zeit zur Band und sind zumindest an einigen, möglicherweise aber nicht an allen Titeln beteiligt.Die Band veröffentlichte zwei weitere hervorragende Alben: "Wood Brass And Steel" auf Turbo von 1976 und "Hard n Heavy" für Sugarhill im Jahr 1980. Wimbush, McDonald und der spätere Schlagzeuger Keith Le Blanc unterstützten die meisten Aufnahmen auf dem Sugar Hill-Label und machten anschließend eine lange und erfolgreiche Karriere im Musikgeschäft als Plattenkünstler und Session-Spieler.

Following up their hugely respected 2 demos (also available as a compilation) and fairly recent 7”, CHAOTIAN are back to release ultimate Death Metal barbarity into the underground in the form of their debut full length. Storming into life with a rotten amalgamation of putrescent riffing and blastbeats, the instrumental unity of this Danish titan is a juggernaut of pure filth. It is telling when a band can have those super groovy pinch harmonic laden riffs and not making them sound like all the others. This may seem a weirdly specific observation (perhaps a guitarist just being a guitarist) but it makes all the difference with heaviness, intensity and also the catchiness on the records. When met with the sewer-spewing vocals and weird dissonant spasms in the music, it doesn’t take long to recognise this will be a truly warped and maniacally brutal experience of Death Metal might. Interlinking primitive hooks that grasp you by the throat then transcend into these weird effects or spacious riffs, there’s nothing predictable about the album yet it has that familiar feeling that all good Death Metal has where it feels a bit daunting, unnerving and yet you cannot escape it. Obviously Denmark and this trio does not let the scene down. Amazingly this small country seems to have so much diversity in their rotten underground movement and CHAOTIAN are a shining example who embody the grotesqueries, masterful songwriting and tight musicianship that has become associated with this otherwise pretty and peaceful nation. It explains that mysterious gurgling from the sewers at least! Bludgeoning, cavernous and ultimately otherworldly, CHAOTIAN masterfully combine the cerebral and cosmic with brutish, old school music that is damned heavy and doesn’t feel pretentious nor directionless. Their debut LP is not just as strong as their previous works, but a more refined and complete vision, showcasing the bands full potential (so far)…

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

Songs My Friends Wrote is an album I've been threatening to make for
years - It's a bunch of tracks that are my versions of a bunch of'songs my
friends wrote
I'm fortunate to count a lot of world class songwriters as good pals and I wanted
to shine a little light on some of my favorite examples of their work. In most
cases I've picked relatively obscure songs that have always spoken to me, even
though many of them won't be so familiar to people. The best part about
recording all these tunes was that they reminded me of all the people who I
haven't been able to hang out with for the past two years because of the plague
we've all been dealing with. All of these tunes bring a smile to my face and I hope
they do the same for you. - Corb Lund

Jack Bessant is a solo singer-songwriter and the bassist/songwriter in
platinum selling English rock band Reef, formed in 1993
2020 saw Jack, via his own label, CHEDX Records, partner with High Head
Recordings to distribute his albums 'Been Notified' and 'Lucky Mountain' plus the
'Peacemaker EP' and now he brings you his most recent EP 'Brother Thunder' on
Vinyl.
'...if you're willing to slip into the same low spiritual gear, it will speak to you…'
7/10 Classic Rock Magazine.
'...Bessant has made an EP of charming intimacy and tuneful tender mourning…'
4/5 RNR Magazine.
Jack will be on tor throughout the UK with REEF in April 2022, with the new REEF
album arriving on the 29th April. Later in the year, we'll see more new music from
Jack Bessant as he continues his output as a solo artist.

Taking direction from both the cinematic song stylings of sardonic yet
unfettered troubadours like Randy Newman, Brian Wilson, and Harry
Nilsson and the "visual scoring" of indie pop song placement in 21stcentury films, Best Move's music suggests the sound of a decade of
winding, disparate avenues finally convening in a perfect center
The Sacramento-based trio is composed of Kris Anaya, Joseph Davancens, and
Fernando Olivia. Anaya, a talented songwriter with a penchant for wry, offbeat
guitar-based folk-pop songs, and Davancens, who holds higher education degrees
in avant- garde composition and jazz double bass, formed the electronic act
Doombird together in 2016, but in 2019 the pair gravitated back to what they
consider more natural inclinations: organic instruments, earnest songwriting, and
a more true-to-themselves direction. Adding Oliva, Best Move was born. Many of
Best Move's songs maintain an intentionally similar sonic feel. Guitars strum and
piano twinkles while a layer of manipulated or synthesized instruments spread a
hazy overtone on top of it all, and steady yet minimal drums keep things moving.
Lyrically, the standards prevail - love, loss, friendship, searching for purpose - but
the themes bubble under the surface of a sea of metaphor, leaving the listener to
decipher the message in their own way. Anaya calls the sound a "thank you to the
past," and while a warm, familiar tone echoes throughout the band's universe,
something unmistakably modern remains.

'Hallival' is the long awaited debut album from Leeds based folk singer
and songwriter Iona Lane, Having found herself fascinated by folklore
and folk stories from across the UK 'Hallival' is inspired by natural
landscapes, scientific discoveries, equality, human relationships and the
supernatural, all tied together by a strong sense of place and a love for
being in wild places - creating something truly special.The name 'Hallival'
is taken after one of the mountains on the Isle of Rum, which inspired the
writing for the opening track 'Western Tidal Swell'
Karine Polwart and Julie Fowlis, amongst others, selected 'Western Tidal Swell' to
win Feis Rois'/NatureScots' In Tune With Nature competition in 2020.With Andy
Bell on production, Iona and her band ventured to Watercolour Music (Ardgour,
Highlands) for a week of recording in April 2020. The studio was chosen due to
it's stunning location - every day the team woke up to herds of deers guarding the
studio, ever changing weather and phenomenal views over to Ben Nevis 'Hallival'.
The lead single from the album 'Humankind', featuring Jenny Sturgeon on
backing vocals, was written from the depths of the Lake District in Wasdale just
before the first lockdown. Being the closing track on the album, it reflects on how
important humans are to each other and the kindness that we can bring
particularly whilst feeling isolated, a feeling that we all know too well after the
past couple of years.
'Schiehallion' was written after discovering the Schiehallion Experiment that was
carried out in 1774. During the experiment scientists from the Royal Society used
the shape and location of Schiehallion to calculate the mass of the Earth for the
first time. After a summer of calculations on the hill, the scientists and locals had
a party in a nearby bothy. The fiddler got so drunk that they burnt their violin and
the bothy to the ground. 'Schiehallion' features Lauren MacColl on fiddle and
Rachel Newton on harp.
Stemmed from being read 'Stone Girl Bone Girl, The Life of Mary Anning' by
Laurence Ann Holt as a child, Iona's song 'Mary Anning' focuses on the life of the
groundbreaking paleontologist who lived and worked in Lyme Regis in the 1800s.
Mary made vast contributions to the scientific world, however, due to her being a
woman she was unable to present her findings and would often end up selling
them to her male colleagues. Up until very recently Mary Anning has had little
credit for her work.
Having studied under the tuition of Nancy Kerr, Jim Moray and Stuart McCallum,
Iona has been praised throughout the scene for her delicate yet powerful vocals,
which have captivated audiences up and down the country.
Iona was chosen by Karine Polwart to receive the Taran Guitars Young Players
Bursary 2020. Since receiving the bursary luthier Rory Dowling, of Taran Guitars,
has designed and built a bespoke instrument for Iona's music.

Even in its moodiest, most downbeat moments there's a spark of energy
that bursts out of A Face In Your Life, the new album from Pet Fox.Where
past efforts played around with after-the-fact layering of instrumentation,
the band's third full-length comes alive in the moment
Tracked live in one room, without the use of a metronome, the ten songs that
unravel across the album capture Theo Hartlett (Guitar/ Vocals), Morgan Luzzi
(Bass), and Jesse Weiss (Drums) in their rawest, most immediate form. Touching
upon notions of anxiety and self-doubt, A Face In Your Life travails the depths of
these themes while also offering little snippets of hope and guidance along the
way. Indeed, the album's sprawling opening track 'Settle Even' is billed as a selfhelp pamphlet, a reminder to the band themselves and those listening that there
will always be people in the world looking out for us, even when that feels like an
impossible feat. An inspired collection of riffs that twists and turns into varying
shapes throughout, Pet Fox never outstay their welcome in the half-an-hour or of
A Face In Your Life but do more than enough to make the kind of impression that
leaves you wanting to journey back through the shadows, to unpick the little knots
of the ideas they're exploring here. It was brought to life by just three people in
one room but it lends itself to something way beyond that; the never- ending
search for coping mechanisms in the messiest of worlds.

'Soul Food - Cooking with Maceo' blends raw, old-school funk with the
flavours of the New Orleans school of music
Parker worked with Ivan Neville, Nikki Glaspie and Tony Hall, as well as a host of
local musicians to record the songs. The funky flavour of the city weaves its way
through the album as the funk father and his band take on iconic songs of the
Mississippi masters such as Dr. John's voodoo funk of 'Right Place, Wrong Time',
The Meters 'Just Kissed My Baby,' 'Yes, We Can Can' recorded by Allen Toussaint
as well as takes on Aretha Franklin's 'Rock Steady', Prince's 'The Other Side of the
Pillow' and Maceo's long-time hero and Ray Charles Saxophonist, David "Fathead"
Newman's 'Hard Times'. We also get funky workouts from Parkers own back
catalogue on 'Maceo' and 'Cross The Tracks'. The latter adopted by Giles
Peterson at the staple song of his iconic WAG Club in Soho, London in the 1980s.
The amazing P-funk Parker has been at it with his legendary sound for time that
dates back to the 1960's. That's when Maceo and his drummer brother Melvin
climbed on board the James Brown funky soul funk train. It wasn't long before
James coined the solo summoning signature, "Maceo, I want you to Blow!". To
most musicologists it's the musically fertile group of men from this period of
James Brown's band who are recognized as the early pioneers of the modern
funk and hip-hop whose sounds we still jump to in the present day.

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

We can't think of many other performers like the singer/songwriter/dancer/actress Asha Puthli who have excelled in such a broad range of genres. From 60s psych, Classical Indian music, Free Jazz, Pop, Soul, Disco, to Rock, the list goes on. A 'best-of' or an 'essential collection' is always going to be a subjective thing, but for what is unbelievably the first official compilation covering the full breadth of Asha's illustrious career, we aimed to provide a snapshot into her ever-evolving musical journey and a tribute to the vast richness of her catalogue.

Some singers want to be famous, others are pop star icons, and some are artists; Asha is the latter. Asha is a true force of nature, regardless of the genre she explores, she fully commits, moves on, and reinvents herself, always progressing. Looking back on Asha's career, it is evident what a trail-blazer she was, opening doors for her contemporaries and those who came later to step through. Whether it was conscious or not, you can recognise Asha’s influence in aspects of Kate Bush's ethereal image and performance, in Donna Summer’s high-smooth vocal sound and disco stylings, and in the gumption and power of Grace Jones.

Kick-starting the compilation is ‘Pain’, the Indian psychedelic garage rock sounds of The Savages featuring Asha. We have to admit, we had to strongarm Asha into letting us include this track at first; also due to its rare nature (and lack of any master tapes) the recording we present here is raw and low-fi. However, we felt its inclusion was important to fully represent the journey of Asha's career, the same consideration was also applied to two of the Asha & The Surfers’ songs that we have included in this collection.

Asha saw a link between jazz and classical Indian music "the improvisation, the minor chords, the free form, the liberalness of the art" we showcase her love of jazz here with seminal works with the legendary Ornette Coleman, taken from the revered 'Science Fiction’ album. Asha's 'CBS years' are represented here, how could we not include 'Space Talk' on this collection, and how these years progressed into her amazing disco offerings such as 'I'm Gonna Dance' & 'Music Machine'. The bizarre 'We're Gonna Bury The Rock With The Roll Tonight' from 1980 has also won us over. A pseudo-50s throw-back song that sounds not un-similar to the post-modern, leftfield, pop of an MIA production to come years later. Rounding off the compilation we have Asha's interpretation of a Michael Jackson classic that sat lost on a cassette-only released in India.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

Propelled into the industry at just 19, Foxes was at
the forefront of the pop stratosphere with her
critically acclaimed debut album ‘Glorious’,
Grammy-winning collaboration ‘Clarity’ with EDM
giant Zedd, big name support slots and six singles
in the UK Top 40. In 2017, she decided it was time
to press pause and focus on connecting with
herself.
 ‘Friends In The Corner EP’, available on
transparent vinyl, is ultimately about facing up to
tough experiences that led her to pressing that
pause button, and the effects of having your
confidence and agency diminished.
 The EP features previously released singles ‘Love
Not Loving You’ - her bold, buoyant comeback
single that transports you to the light at the end of
her time away; ‘Friends In The Corner’ on the
fragility and hidden nature of mental health
struggles; ‘Hollywood’, revealing some of the most
challenging experiences she’s had to date,
chasing her dreams to Los Angeles as a young
songwriter; ‘Woman’ with its universal message of
standing up to the unacceptable; new single
‘Kathleen’, an ode to her grandmother and
unheard tracks ‘Courage’, ‘Dance’ and an acoustic
version of ‘Kathleen’.

‘An Awesome Wave’ is finally back in stock on vinyl as the band celebrate the 10th anniversary of this classic debut record. Described by The Guardian in their Albums Of The Year coverage as “Remarkable and Rewarding:, ‘An Awesome Wave’ won the band the Mercury Music Prize and an Ivor Novello award, the album has since gone platinum in the UK and continues to receive critical acclaim. This album saw the start of a remarkable trajectory for the band who became one of the most successful British bands of the millennium. alt-J have now sold in excess of two million albums and their songs have been streamed over two and a half billion times. Their follow up album This Is All Yours was a UK number 1, GRAMMY and BRIT Award-nominated album. Released in 2017, album number 3 RELAXER flew straight into the top 10 of the UK album chart ahead of a summer of major international shows-including a headline show at London’s O2 Arena; and headline performances at numerous festivals and became their second album to be nominated for the Mercury Prize. 2022 saw the release of their 4th album The Dream which reached top 3 in the Uk and was one of the best reviewed records of 2022.

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

When words trail off at the beginning of claire rousay’s »everything perfect is already here«, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.

rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.

“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.

The music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is the where you are now. There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.

These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.

8 years after his debut album entitled "What You Give", it's time for the Greek musician's second long player! No doubt, this is Bengoa's most mature work to date and a product of countless studio hours. Pushing his electronic sound forward, the Greek musician, dj, songwriter and label owner, delivers an outstanding 9-track LP, floating between trip hop, nu-jazz, mid and downtempo motifs. The extensive use of physical instruments like saxophone, trumpet, guitars, piano, percussion and bass add musicality and deepness to the whole record, on which Bengoa has also written most of the lyrics himself. "Music For Your Red Parts" flows like an undercurrent of nervy isolation and late night melancholy, toying with the emotional structure of it's own sound. Songs that signal something memorably, indelibly and hypnotically sexy, without talking about sex. Music that you feel - strong, soft and filled with emotion. It wants to meet you in your deepest parts. It will play games with you, fill you with sorrow, or send you into a deep reverie. out now through SAOS RECORDS.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut LP »Liminality« she paints melody in soft tones, whispering secrets to navigate feelings of loss.

Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist’s own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualisation of wandering lost between them. "I read that Carl Jung used the word "»Liminality«” to describe the psychological process of transitioning. I instantly felt seen; it reflected my own experience and the feelings I carried whilst making the album – a sense of the old certainties being gone, but the new not being quite there yet,” she says.

Defined as "the threshold separating one space from another" »Liminality« moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. "I am happy to have encapsulated this moment of time in sound," Blomqvist says, "it will always be there as a memory."

Flourishing from a preferred position of solitude, »Liminality« sees Blomqvist’s vision radiate with intensity from her home-based studio in Neukölln - a small, 2-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends (to swiftly reunite it with its owners), and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. “Maybe I would have been stuck in »Liminality«, trying out sounds forever,” she suggests of the way ‘Into the well’s instrumental swims into a warm stream of synth pads. "It’s the cosiest moment on the album,” she says, “Cosy is a feeling I always strive for in life."

Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the ‘Stairway to Heaven’ intro. “As a child I was fascinated by my dad’s acoustic guitars around the house and would hit the strings to make them sound,” she recalls. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. As well as enjoying walks at Tempelhofer Feld and coffee at Leuchtstoff café, she performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen, where music became her world. With the passing of time she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first »Yearnings« EP.

Now writing whenever she returns to Sweden, within the calm and stillness of her family’s mountainside cabin, her skilfully constructed arrangements summon the comforting atmosphere of home. “I hope listeners will feel inspired to slow down a bit, create, draw, cook something. Just be in the moment that is now.” »Liminality« is the kind of record that rewards attention. Give this album your time, it will give you its soul.

Tiptoe between the toadstools of Liverpool’s city parks, and amongst the foliage you might find a Strawberry Guy, contemplating his next chord-progression. Composing hi-fi symphonies from within his humble abode, the Welsh-born songwriter is ready to share the fruits of his labour with debut album Sun Outside My Window. A timeless vista of ethereal balladry looking towards 19th Century musical maestros and works of art, it brings new meaning to the term ‘Modern Classic’ and is the most optimistic of lockdown records yet.
“It’s about seeing the simple things in life and them making you happy,” tells Alex Stephens, the Guy behind the Strawberry. “I remember this day when I was really down… looking out the window, the sun beaming in was beautiful, it made me want to go outside – it was simple but made me so happy in that instance.”
A one-man impressionist, painting majestic soundscapes, Strawberry Guy blends truthful lyrics with lush arrangements to conjure new emotive worlds. Inspired by composers of the Romantic period, or Debussy, Ravel, and other classical artists of the 1800s, his wonderland moves like a Monet painting where arpeggios dance between meadows of dazzling dynamics and dramatic key changes. As former keyboard player of The Orielles and Trudy and The Romance, the light through his floor to ceiling windows has caused a dramatic Greenhouse Effect and now ripening on solo terms, his innocent uploads of ‘Without You’ and ‘F-Song’ comfort 2 million Spotify listeners a month. ‘Mrs Magic’ has received 40 million streams, landing at #13 in its chart and countless fan-created videos have appeared on YouTube. “Throughout history composers have tried to capture emotion, painting their own impressionist pictures with musical brush strokes… I guess I’m just trying to do the same and people enjoy that,” he suggests modestly.
Named by musical friends Her’s after his impeccable taste in milkshakes, Strawberry Guy upturns ‘bedroom artist’ perception, as each idea is crafted into a widescreen wonder where vocals tag-team instrumentals and countermelodies flourish within the Georgian walls of his Liverpool flat’s small space. “I want it to sound like I’ve squeezed an 80-piece orchestra into my room, and for listeners to wonder how all those strings got there,” he says. “Working on the 4-part harmonies, the orchestra became real; I began believing in myself.”
Imitating nature’s effect on emotion, like 70s songwriters, or the fantastical soundtracks accompanying vibrant scenes in the Japanese animated Studio Ghibli films and video games, landscape is brought to the fore. Monet’s picturesque Meadow at Giverny features as the album’s accompanying artwork – perhaps a reminder of the rural Welsh countryside views through his childhood home’s window; “I was inspired by how calm and peaceful the image felt. Its painted lines show real-life scenes in a magical way, which to me reflects my music.”
Just as the first Strawberry Guy EP Taking My Time To Be offered a slowing down for the soul, Sun Outside My Window is musically unhurried, written and recorded over 2 years. “Recording as a lone berry meant I could run with my emotions in the moment and deliver something true; it would have been an entirely different album had it been recorded in a studio,” he says.
Modern Classic? Only time will tell. For now this Guy’s happy-sad world is here to get the juices flowing and with, pandemic permitting, a US tour in 2022, life looks a whole lot sweeter. Until then, take it slow, be at one with the wilderness and remember, when life gives you lemons, swap them for Strawberries.

20th Anniversary edition pressed on Californian Sunburst vinyl with
newly designed artwork and bonus 7” featuring ‘Brown Eyes’ and the
previously unreleased ‘The Earth From Above’.
 ‘California’ was released in 2002 to massive critical acclaim and reached
a much wider audience across Europe. Features the hit singles ‘This
Life’ and ‘Ordinary Day’.
 The album features Glenn Garrett on bass, Neil Conti (David Bowie /
Prefab Sprout) on drums and Dickon Hinchcliffe (Tindersticks ) and Rick
Carter (The Sisters of Mercy) on keyboards.
 ‘California’ was mostly co-written with Italian composer Marco Sabiu,
who collaborated with and was mentored by the late, great Ennio
Morricone.
 Perry Blake, Sligo-born singer / songwriter, is one of music’s great
untapped resources. After his first three singles - taken from his debut
album - received Single Of The Week on Jo Wiley BBC Radio 1, Blake
moved to France, where he was met with critical acclaim with his next
four albums, touring Europe with Carla Bruni and writing two songs for
Francoise Hardy’s Platinum-selling album ‘Tant de belles choses’,
appearing on various TV shows in France as her special guest.
 You may very well wonder what to expect of an album with American
West Coast orientations from an Irishman who happens to be critically
acclaimed on the Continent but is largely ignored in Britain. Thankfully,
Blake lives up to his billing with apparent ease. His song writing is
evidently mature and melodic; he incorporates lush orchestral
arrangements with tender vocals; and combines pop-like hooks with a
deep sonic texture.
 ‘California’ is a thriving and absorbing collection of songs in which
orchestral arrangements strain with emotion, melodies thrive and bloom,
like The Verve at their peak, though far more fragile and balmy.
 ‘California’ is ether for the soul - a truly magnificent and touching
collection of frankly beautiful songs, which is up there with class of Bryan
Ferry, The Blue Nile and anyone else who can turn a night around.
 Blake’s glimpses of people living a state of mind is one of those great
escapes it’s very hard to get away from. His gift here is to take a
subdued, grown-up collection of songs but make them sound like they
deserve daytime radio.
 Radio - Radio 2 Jo Whiley session.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

Jean Carne JID012 is twelfth installation in the Jazz Is Dead catalog. This album features seven original songs by Adrian Younge, Ali Shaheed Muhammad and the incomparable Jean Carne, who first came to life for many hip hop heads after being famously sampled by Brand Nubian. Jean Carne JID012 allows Carne the space to showcase her shape shifting vocal abilities. Arrangements crafted by Younge and Muhammad are reminiscent of Carne's 1970s collaborators: her then-husband Doug Carn (Black Jazz Records), Mtume (Third Street Records) and songwriting duo Gamble and Huff (Philly International). All songs produced by Adrian Younge & Ali Shaheed Muhammad. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

The Lost Daughter is a critically acclaimed 2021 psychological drama film written and directed by Maggie Gyllenhaal in her feature directorial debut, based on the 2006 same-titled novel by Elena Ferrante.

The film stars Olivia Colman, Dakota Johnson, Jessie Buckley, Paul Mescal, Dagmara Domińczyk, Jack Farthing, Oliver Jackson-Cohen, with Peter Sarsgaard, and Ed Harris. Colman also serves as an executive producer on the film. The film follows Leda (Colman) who is on a solo-vacation at the seaside and becomes consumed with a young mother and daughter as she watches them on the beach. When a small, seemingly meaningless event occurs, Leda is overwhelmed by memories of the difficult, unconventional choices she made as a mother and their consequences for herself and her family. The seemingly serene tale of a woman’s pleasant rediscovery of herself soon becomes the story of a ferocious confrontation with an unsettled past.

The Lost Daughter premiered at the 78th Venice International Film Festival, where Gyllenhaal won the Golden Osella Award for Best Screenplay. At its opening night world premiere, the movie received a four-minute standing ovation from Venice Film Festival attendees. The film also received three nominations at the 94th Academy Awards for Best Actress (Colman), Best Supporting Actress (Buckley), and Best Adapted Screenplay.

Thescore is composed by Dickon Hinchliffe, founding and former member of Tindersticks. Dickon’s unique style of composition and arrangements developed from his classical study of the violin and song writing and recording in bands.

The Lost Daughter is available as a limited “Peal it like a snake, don’t let it break” edition of
750 individually numbered copies on orange marbled vinyl. The LP features alternative artwork designed by Yelena Yemchuk, a Ukranian professional photographer, painter and film director, best known for her work with The Smashing Pumpkins. The vinyl package includes an inset with pictures and liner notes by both Maggie Gyllenhaal and Dickon Hinchliffe.

Limited White Teal & Beige Vinyl. Spencer Zahn's second record for Cascine emerged from a series of piano sketches born of daily improvisations in Kingston, New York, where he relocated during the pandemic after 14 years in the buzz of Brooklyn. Inspired by the space and pace of upstate life, he explored a more restrained, resonant mode of playing, letting chords delay all the way to silence, until the seeds of songs took shape. Zahn accompanied himself on upright bass, finessing each piece without cluttering it, focusing on the notion of "the instrument in a room. Recruiting long-time collaborator Andy Highmore for piano duties, the duo booked time at Figure 8 Recording in Prospect Heights to craft the lulling, lyrical 12-track suite of Pale Horizon. The tonality of the instruments was central to Zahn's vision, fusing them to feel like a single entity, with upright bass blending in an elegant gradient with the low strings on the piano. An air of Keith Jarrett and Ryuichi Sakamoto hangs over the collection, acoustic and unhurried, stately but subdued, ruminative daydream melodies heard on the breeze in a quiet garden.