Suche:alt j

Die Singer-Songwriterin und Mental Health Pionierin, Jewel, feiert das 25-jährige Jubiläum ihres mit
Mehrfach-Platin ausgezeichneten zweiten Albums Spirit mit einer erweiterten und neu gemasterten Neuauflage. Das Album erschien 1998 über Craft Recordings. Das am 17. November auf 2-CD und digitalen
Plattformen erscheinende Deluxe-Album enthält den GRAMMY®-nominierten US-Top-10-Hit ”Hands”, die
Fan-Favoriten ”Down So Long” und ”Jupiter (Swallow the Moon)” sowie 23 Bonustracks, darunter acht
bisher unveröffentlichte Demos und Outtakes, seltene Live-Auftritte aus dieser Zeit, alternative Aufnahmen,
Remixe und vieles mehr. Zusätzlich wird das ursprüngliche 13-Track-Album als 2-LP-Set neu aufgelegt,
womit Spirit erstmals seit 1998 wieder auf Vinyl erhältlich ist.
Verfügbar ab dem dem 17.11.2023 als 2LP und 2CD

Charly Records have done plenty of leg work here thatmeans you can save yourself lots of time and effort and immediately make yourself out to be a font of dub and reggae wisdom. Treasure Isle Solid Gold is a well curated selection of the most vital club hits produced by the legendary Jamaican label owner Arthur ‘Duke’ Reid. You will know plenty of the artists he worked with from the opener John Holt via Rolando Alphonso Baba Brooks Band, Don Drummond & The Skatalites and U-Roy & The Pargons.

The sounds are varied but never less than sensational across both sides of wax.

Nottingham indie sensations Divorce announce ‘Heady Metal’ EP, set for release November 17th via Gravity/EMI. Arriving hot on the heels of BBC 6 Music-playlisted lead track ‘Birds’ (alongside Arlo Parks, The Last Dinner Party & Miso Extra), the alt-country heavyweights are fast becoming a formidable presence throughout the emerging landscape, with an acclaimed summer festival run now under their belts (incl. Latitude, End Of The Road & Boardmasters), as well as highly-praised support dates with Self Esteem. Marshalled by songwriting duo Tiger Cohen-Towell and Felix Mackenzie-Barrow, the group’s forthcoming EP signals a closer collaboration than ever between the two bandmates, providing a striking portrayal of insecurity and questioning whether to trust oneself or your new surroundings. The character studies of debut EP ‘Get Mean’ are gone; in their place more vulnerable narratives about grappling with identity amid the new pressures they were experiencing following their phenomenal rise.

"15th anniversary pressing of The Maine’s debut album, Can’t Stop Won’t Stop. The album includes the single “Into Your Arms” and fan favorites “Everything I Ask For” and “Girls Do What They Want.” After its initial 2008 release, the album debuted at #40 on the Billboard 200 and #4 on the Independent Albums chart. Reflecting on the album's legacy, frontman John O’Callaghan told Alternative Press, “this album might be the rawest form of who our band is.” The LP is housed in a gatefold jacket. "

Coral Red Vinyl. Frank Zappa was instrumental in getting former Mothers Of Invention member Lowell George and his new band, Little Feat, featuring Roy Estrada, RIchie Hayward and Billy Payne, a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. Despite good reviews of their sophomore effort, lack of commercial success led to the band splitting up, with Estrada leaving to join Captain Beefheart's Magic Band. In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. The band also added a second guitarist in Paul Barrere, who had known George since they attended Hollywood High School in California, and percussionist Sam Clayton (brother of session singer Merry Clayton and the brother-in-law of the jazz saxophonist Curtis Amy) and as a result the band was expanded from a quartet to a sextet. This new lineup radically altered the band's sound, leaning toward New Orleans funk. The group went on to record 'Dixie Chicken' (1973) - one of the band's most popular albums, which incorporated New Orleans musical influences and styles - as well as 'Feats Don't Fail Me Now' (1974), which was a studio-recorded attempt to capture some of the energy of their live shows. This recording was made in between the 'Dixie Chicken' and 'Feats Don't Fail Me Now' albums. Recorded live in Denver on July 20, 1973 at Ebbet's Field.

Coral Red Vinyl. Frank Zappa was instrumental in getting former Mothers Of Invention member Lowell George and his new band, Little Feat, featuring Roy Estrada, RIchie Hayward and Billy Payne, a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. Despite good reviews of their sophomore effort, lack of commercial success led to the band splitting up, with Estrada leaving to join Captain Beefheart's Magic Band. In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. The band also added a second guitarist in Paul Barrere, who had known George since they attended Hollywood High School in California, and percussionist Sam Clayton (brother of session singer Merry Clayton and the brother-in-law of the jazz saxophonist Curtis Amy) and as a result the band was expanded from a quartet to a sextet. This new lineup radically altered the band's sound, leaning toward New Orleans funk. The group went on to record 'Dixie Chicken' (1973) - one of the band's most popular albums, which incorporated New Orleans musical influences and styles - as well as 'Feats Don't Fail Me Now' (1974), which was a studio-recorded attempt to capture some of the energy of their live shows. This recording was made in between the 'Dixie Chicken' and 'Feats Don't Fail Me Now' albums. Recorded live in Denver on July 20, 1973 at Ebbet's Field.

In the wake of Young Marble Giants’ breakup, two acts were created, with Stuart Moxham taking minimalist, geometric play to extremes while Alison Statton added more warmth and feeling to a similar template, creating something stunning yet based in popular forms. Those two opposing means of forging paths away from one of music’s most astonishingly unique debuts both included Stuart’s brother, Phil. More recently, both have reversed course, with Stuart proving himself a master of classic pop form, with Alison’s work again approaching a modern abstraction of quiet folk music - experimental but accessible. But that’s another tale. With no template to guide him, Stuart’s new music - as The Gist - was regarded as wildly uneven. Stuart admits that he didn’t know which way to go, so perversely, he decided to take all directions at once. The Gist’s original discography stood at a scant 18 songs, yet only seven featured Stuart’s own voice, often in heavily processed and oddly-mixed form. The Gist’s label, Rough Trade, dropped the band. Starting with a critical re-evaluation of The Gist’s sole album Embrace The Herd in an issue of Mojo, the tide begin to turn. Ambience in pop has long enjoyed a cult following, and the nonlinear structure of many of The Gist’s songs have parallels with artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France - sounding rather advanced for French pop at the time, it ended up selling over a million copies and was later covered by Lush and sampled by DJ Koze with Lambchop singer / songwriter Kurt Wagner. Recent discovery of a trove of unreleased recordings show that Stuart had held back an array of excellent material, in demo and completed forms, often in different arrangements. Interior Windows adds 13 new performances or alternate versions to the band’s catalogue, and does the service of making both sides of The Gist’s first 7” 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the NME / Rough Trade cassette compilation C81, and in keeping with The Gist’s tradition, at least one song on which Stuart does not appear

Zum 30-jährigem Jubiläum erweiterte Neuauflage des nächsten Klassikers der Lemonheads aus dem Jahr 1993, inklusive neuem Cover-Artwork. Die bahnbrechende Platte, die auf It's A Shame About Ray und "Mrs. Robinson" folgte, den amerikanischen Alt-Rock weltweit bekannt machte und Evan Dando in die Herzen einer ganzen Generation katapultierte. Mit einer Fülle von unveröffentlichten Demos, alternativen Versionen und Raritäten - darunter Coverversionen von Victoria Williams, Buddy Holly und den Flying Burrito Brothers sowie The Lemonheads' Interpretation des Cole Porter-Standards "Miss Otis Regrets". In den 90er Jahren produzierten Evan's Lemonheads einen Alternative-Hit nach dem anderen, eine Reihe von wirklich guten Singles: 'Big Gay Heart', 'Into Your Arms', 'It's About Time' und 'The Great Big NO'. Pures Genie, das über's Radio ging und die Indie-Herzen eroberte. Heute ist Evan immer noch ein Meister des Songwritings und 'Come On Feel The Lemonheads' klingt nebenbei noch so frisch wie eh und je. Inmitten der Hits der Originalplatte findet sich aber für noch mehr magische Musik, und diese Deluxe-Edition fügt nun eine zweite Disc mit Demos und Akustikversionen hinzu, sowie eine Vielzahl von Tracks aus Sessions und von Compilations, die dem Mythos und seiner Entstehung weitere Farbe verleihen. So covert die Band liebevoll Victoria Williams' "Frying Pan" von ihrem "Sweet Relief"-Album. Dazu gesellen sich eine Reihe von Flipsides und Out-Takes, wie ihre Version des Garagen-Punk-Knüllers "Little Black Egg" von The Nightcrawlers, Evans Hommage an Gram Parsons "Streets Of Baltimore" und Buddy Hollys melancholisches "Learning The Game". Evan erkennt einen guten Song, wenn er ihn hört, und wie 'Come On Feel The Lemonheads' beweist, kann er auch selbst gar keine schlechten schreiben. Unabhängig davon, dass der Vorgänger ,It's A Shame About Ray" als der Klassiker der LEMONHEADS dargestellt wird, hat der Nachfolger ... seine ganz eigene Geschichte. Erneut gab Juliana Hatfield mit den Ton an, ... auch wenn auf diesem Album Nic Dalton hauptsächlich den Bass einspielte. Es geht insgesamt ruhiger zur Sache, orientiert man sich nur an den Singleauskopplungen ,Into your arms", ,The great big no", ,It's about time" oder ,Big gay heart"." - OX 2015 "Dabei hat Evan Dando seine musikalische Palette wieder erweitert: Neben reinen Country-Songs mit Slide-Gitarre und den poppigen Parts, blitzen plötzlich doch wieder nach vorne treibende punkige Tracks auf. Und diese Mischung passt so gut, dass selbst Pop-Göttin Belinda Carlisle (!) mal singen und auch Punk-Ikone Rick James seinen Part beisteuern darf." - Visions 1993

Musa Dagh setzt sich aus Thomas Götz (Beatsteaks), Aydo Abay (ex-Blackmail), Aren Emirze (ex-Harmful) und Produzent Moses Schneider (u.a. Tocotronic/Kreator) zusammen. Musa Daghs selbstbetiteltes Debütalbum ist eine intensive und sphärische Reise durch diverse Genres und entführt die Hörer*innen in eine Welt aus progressiver Heavy- und Alternative-Rock-Musik. Eine pulsierende Noise-Rock-Pop-Schönheit!

Limitiertes white/black marble Vinyl. Terror ist eine amerikanische Hardcore-Band aus Los Angeles, Kalifornien, die 2002 gegründet wurde. Angeführt von dem unermüdlichen Enthusiasmus von Frontmann Scott Vogel, haben Sie sich seit ihrer Gründung um die Jahrtausendwende einen starken Ruf erspielt. Ihre Mischung aus schnörkellosem, brutalem Hardcore und New Generation Metal, schlägt eine Brücke zwischen Jung und Alt und sorgt für einen höllischen Pit. Scott Vogel ist eine Schlüsselfigur für das Überleben der Szene, da er sein normales Leben zu Hause aufgegeben hat, um trotz gebrochener Gliedmaßen und Bandscheibenvorfälle immer wieder auf der Bühne zu stehen.

Fallen ist das Debüt-Studioalbum von Evanescence, aus dem vier Singles hervorgingen, darunter die weltweiten Chart-Hits My Immortal” und Bring Me To Life”.


Das Album wurde 2003 veröffentlicht, erreichte Platz 2 der deutschen Charts & konnte sich 2003 auf # Platz 9 der Endjahres Charts platzieren & 2004 auf Platz 10; das Album war insgesamt 73 Wochen in den deutschen Charts vertreten. und wurde mit 7-fach Gold ausgezeichnet. Evanescence erhielt für dieses Album zwei GRAMMYs in den Kategorien Best New Artist und Best Hard Rock Performance für ”Bring Me To Life”. Seit seiner Veröffentlichung hat sich Fallen mit über 17 Millionen verkauften Exemplaren weltweit zu einem der meistverkauften Alben aller Zeiten entwickelt. Das komplette Album wurde remastered & enthält eine alternative Version von „My Immortal“ sowie Demo Aufnahmen von „Bring Me To Live“ sowie Live-Versionen davon, die Singles „Breath No More“, „Farther Away“ & „Missing“ die ebenfalls während der Aufnahme für „Fallen“ entstanden sind. Verfügbar ab dem 17.11.2023 als 2LP, Ltd. 2LP White Purple und 2CD

"Sweet Justice" ist das zweite Album von Tkay Maidza, der ersten Rapperin, die bei 4AD unter Vertrag ist. Der Nachfolger des selbstbetitelten Debüts aus dem Jahr 2016 enthält Produktionen von Flume und Kaytranada und zeigt alle Facetten der in Los Angeles lebenden, in Simbabwe geborenen und in Australien aufgewachsenen Tkay. "Sweet Justice" ist kein Rachealbum, wie der Titel vermuten lässt, sondern das Ergebnis dunkler Nächte und der Erleuchtung am Tag danach. Das Album klingt nach innerer Befreiung und Spaß am Leben. Sie wechselt zwischen den Stilen und überwindet so mühelos Genregrenzen - Musik ohne Zwänge, Regeln und Vorgaben. Dazu trennte sie sich von ein paar alten Freunden, fand einige neue, die auf der gleichen kreativen Wellenlänge lagen: die kanadischen Produzenten Stint und Kaytranada sowie ihr australischer Kollege Flume, die alle zur Produktion beitragen haben. "Sweet Justice" ist ein Album, das die wunderbaren Widersprüche von Tkays Kunst verkörpert: Es ist eine Coming-of-Age-Platte von jemandem, der langsam versteht, wie das Spiel des Lebens läuft. Ein Album über Gerechtigkeit und Verantwortlichkeit, das hell, luftig und unglaublich lustig ist und diejenigen, die unehrlich und respektlos sind, mit bittersüßer Musik niederstreckt. Wie Tkay in "Love Again" singt, einem Song, der wie eine Meditationssitzung klingt: "Vorbei sind die Tage, an denen ich fiel und sah, dass es kein Entkommen gibt." Ein gutes Leben ist die beste Rache. Auf "Sweet Justice" lebt Tkay Maidza dieses Motto.

Chicago born & Detroit bred ALTON MILLER is a vessel of musical vibrations. Since his first release as a remixer on KEVIN SAUNDERSON'S 1987 "KEYNOTES," ALTON'S creative journey has remained consistent. The four tracks on this EP all feature low slung basslines, dirty synths & deep rhythms.

Boy bands and girl groups were a huge factor in 90’s and 00’s pop culture. From the Backstreet Boys and Take That to the Spice Girls, Sugababes and many more great pop-bands, they sparked mass hysteria among their young fanbase. Being one of the first bands in the late 80’s, New Kids On The Block kicked off the hype, although in the 60’s bands like Jackson 5 and The Supremes had been around for quite some time.

The pop genre sparked a whole new breed of both boys and girl bands, with #1 hits all around, fueled by the sing-a-long lyrics, catchy videos on MTV, magazines and tours targeting a young audience around the world. Girlz ‘n Boyz Collected represents the legendary 90’s and 00’s girl- and boy bands including Backstreet Boys, Spice Girls, Sugababes, Take That, Atomic Kitten, New Kids On The Block and many more acts.

The 2LP Girlz ‘n Boyz Collected is available as a limited edition on blue
(LP1) and pink (LP2) coloured vinyl and includes an insert.

Repress!

Following his versatile Alone With Everybody EP, FD returns to The North Quarter with a stunning 16 track debut album: Better Days.

Largely written in a three month window, FDs (real name Freddie Dixon) new long player on The NQ undoubtedly brings the best of the Zurich-based/London-born producer. Better Days is an album that delivers a rare synergy of drive, harmony between subtle & raw and just sheer fun. A versatile yet coherent project drawn from a large pool of sketches, finalised in intricate detail with focused studio dedication.

Drawing influences from Dub, Jazz, Hip Hop, Soul and the Mid 90's Drum & Bass “GoldenAge”, Better Days bridges the gap between genres, as FD enlists carefully considered vocal collaborations. Manchester donny Fox shines on the dubbed out Better Man and Washington DC soul diva Cecily shows shades of Minnie Riperton on Sycamore. Meanwhile Ribs is lifted to one of the album's stand out tracks with Maverick Soul on the keys and the enigmatic Issac Rosie on the boards.

For some the better days in life are in their childhood memories: nostalgia-infused wonderings of the mind to a care-free time without today's online distractions. Although FD’s debut album 'Better Days' is inspired and informed by a period earlier in life, his best days musically are definitely in the present. To put it into the man's own words:

"I’ve been wanting to do an album for quite a while now, but the circumstance never felt right. Once I started working with The North Quarter that all changed – it feels like being part of a team all pushing in the same direction, all supporting one another, all wanting to do the best for each other. Once we’d done the first EP together, for me, it was only a question of when."

George Coleman (born March 8, 1935) is an American jazz saxophonist best known for his work with Miles Davis and Herbie Hancock in the 1960s. Coleman was born in Memphis, Tennessee and learned to play the alto saxophone in his teens. After his work with Ray Charles, George started working with B.B. King in 1953 and switched to playing the tenor saxophone.

George Coleman was a member of legendary outfits such as Max Roach’s quintet, The Slide Hampton Octet, Miles Davis’ Quintet and The Chet Baker Quintet. The list of his collaborations is impressive to say the least, Mr. Coleman recorded and performed with greats such as Freddie Hubbard, Herbie Hancock, Charles Mingus, Ahmad Jamal, Idris Muhammad, Pharoah Sanders, Ornette Coleman, Melvin Sparks, ArtBlakey…and many others.

Coleman was named an NEA Jazz Master, was added to the Memphis Music Hall of Fame in 2015, and received a brass note on the Beale Street Brass Notes Walk of Fame. George Coleman’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Atlantic, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are proudly presenting you today: Amsterdam After Dark (Recorded in 1978 at the famous NY Sound Ideas Studio and released on Timeless Records in 1979) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Sam Jones (Dizzy Gillespie, Duke Ellington, Ben Webster) on bass, Billy Higgins (Donald Byrd, Thelonious Monk, John Coltrane) on drums and Hilton Ruiz (Roy Brooks, Rashaan Roland Kirk, Sonny Rollins) on piano. Most players featured here were also part of the legendary ‘Eastern Rebellion’ collective responsible for releasing multiple ground-breaking albums over several decades.

Amsterdam After Dark shows off George Coleman’s mastery of the sax, his brilliant vintage techniques and deep soulful tones. Coleman plays from the heart and is on top of his game. Expect both original compositions as well as standards, beautiful ballads with elegant (yet fierce) solos alternating between the instruments, growling blues-oriented themes…this is a contemporary sounding Hard Bop & Post-bop crossover album and a must have for any self-respecting jazz fan or collector!

A collection of structured piano improvisations and their surrounding sonic environments, an album in four parts: Songs From a Distant Summer | From November For Snow | Together Recorded between 2011-2013, the album was never intended to be a direct response to the seasons. The coincidence of the recordings having been made at points within the seasons was only pointed out at a later date by a friend. Alongside wishing to avoid any parallels or associations being drawn with Vivaldi’s masterpiece, the title - “The Seasons Are Not Four” - a line from a poem by Syrian poet Adonis , appeared to fit perfectly - recognising our relationship to time but also alluding to the impossibility of truly categorising it. Due to label arrangements and complications the majority of these recordings have remained unreleased for a decade. One notable exception being the piece “I Promise”, that went on to amass in excess of 24 million streams - an unfathomable prospect for a piano-less pianist recording a reunion between himself and a piano at a point of not having played one for several months. The Seasons Are Not Four serves as a sonic record of real-time responses to the character of a piano, to transient states of being and to disparate, fleeting moments in time - some will hear Summer in Winter, others- Autumn in Spring; distant conversation beyond the sounds of a hesitant human shuffling fingers against wooden keys, the ticking of a grandfather clock or the song of birds outside masking passing traffic. - ‘The Seasons Are Not Four, a week is not seven days, a year is more than it is, and less’ Adonis

and Sebastian Kokus and the prolific Ulf Schütte, the Hamburg-based trio has tirelessly expanded upon its sound and extended its musical style. After 2022’s »S/T« documented the results of their first jam sessions as a newly-founded group, »V.A.« started even more modestly and became an even bigger undertaking. Originally conceived as a small one-off release, it grew into a full record which sees the group embracing dub music, collaborating with Peaking Lights’ Aaron Coyes and inviting other artists—No UFO’s, Seekers International, Coco Em—who reworked select tracks in true dub style. »V.A.« is marked by inconsistency, openness, and heterogeneity in the best sense of those words: ever-changing, constantly surprising and consistently in motion.

The starting point for »V.A.« was a Hamburg concert in December 2022 together with Coyes, who played a solo set as Peaking Lights. On the request of the event organiser, Cloud Management teamed up with him for a jam session after the gig, laying the foundation for a track that the group took to the studio before sending it to Coyes to record vocals for it. Another song quickly followed and even though the band initially intended to release »PST« and »0rten Pitch« as standalone 7” single, they soon decided to have others create versions of the two tunes to round them off in the form of a 12” EP. Once more though, one thing led to another and now »V.A.« collects five original pieces by Cloud Management as well as three—four on the digital version—remixes by other artists.

Collaborating with Leipzig-based Canadian producer No UFO’s, the Canadian Seekers International collective, and Kenyan multi-disciplinary artist Coco Em came about organically. As fans of their friend Konrad Jandavs’ work for labels such as Spectrum Spools, Root Strata and his own Nice Up International, Korf, Kokus and Schütte asked him for a remix and granted him full creative freedom for his take on »PST«. Jandavs also connected them with the prolific Richmond-based soundsystem worshippers, who present their take on the same track on this record as well as a version of »Electric CD.« Also this track appears three times on the record, having been re-rubbed by Emma Mbeki Nzioka, who was introduced to the the trio by its label Altin Village & Mine.

There isn’t really a common thread running through the rough digi-dub of No UFO’s take on »PST«, Seekers International’s traditionally-minded yet infinitely playful dub-psychedelia and Coco Em’s bass-heavy, percussive, pulsating take on »Electric CD.« However, as a group dedicated to staying in flux at all times, Cloud Management ended up embracing the creative differences between their own work and those of their respective collaborators. In calling it »V.A.,« they paid tribute to their somewhat loose, but conceptually consistent concept of giving various artists full creative licence over their own work. Neither a true album in the strict sense of the world nor just a compilation, »V.A.« is actually the essential Cloud Management record: ever-changing, constantly surprising, consistently in motion.

9Million is a Toronto shoegaze band helmed by the multi instrumentalist, songwriter and producer Matthew Tomasi. Best known for his work with alt pop icons like Ethel Cain and Nicole Dollanganger, Tomasi has gained increased notoriety in recent years for his behind the scenes work as a producer and mix engineer, but he is also a tireless creator and songwriter himself; playing and contributing to the music of countless bands and independent artists. With 6 other members including Ace Mendoza (Lead Guitar, Vocals), Danielle Clark (Vocals), Lia Lepre (Keys), Jamie Fastlane (Bass), Brandon Santi (Drums), and Looch Man (Guitar, Vocals); Tomasi says 9million started out “as a creative outlet for myself to explore new sounds and ideas that I wasn’t touching on with any of my other projects or clients'', but quickly the project took on a collaborative spirit not unlike his hardcore band Friction.

The sound of 9million infuses a shoegaze / alt rock foundation with elements of brooding alternative pop, indie rock, and synthwave - resulting in something that recalls ahead of their time 90s bands like Hum and Failure while connecting that sound from the past to the modern world of post-Lana Del Rey slowcore pop sound that Tomasi traffics in on records like Preacher’s Daughter, Natural Born Losers,
and Married In Mount Airy. Featuring several new original songs and two covers, the mixtape explores more electronic elements and layers of vocal processing that, when paired with the fuzzed out rock sound of Between Us, present an exciting blend of styles the band is pulling from. As a whole, Gush is a loose yet emotionally hefty collection of songs that highlights Tomasi’s distinct approach to shoegaze while also capturing the unique dynamic and possibilities of this band as a whole.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.