The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. From there the festival quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headlining performances from The Black Angels each year. The Black Angels and Levitation helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas. The artists and sets showcased on Live at Levitation have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at Levitation annually from all over the world.
Suche:ann
The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. From there the festival quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headlining performances from The Black Angels each year. The Black Angels and Levitation helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas. The artists and sets showcased on Live at Levitation have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at Levitation annually from all over the world. When it comes to following the beat of their own drum, New York’s Psychic Ills have exemplified the phrase since their beginnings in 2003. Initially spawned from electronic-centered home recording experiments, they progressed into all-night full-band exploration in a neighborhood where noise wasn’t a problem. They soon after evolved into a live band seemingly at home within the extended jam, exploring a variety of musical terrain. The early years saw several releases for Social Registry, tons of time on the road, and collaborations with artists as diverse as Gibby Haynes (Butthole Surfers) and Sonic Boom (Spacemen Three/Spectrum). We are proud to welcome Psychic Ills to the Live at Levitation series. The release showcases the band's appearance at Austin Psych Fest 2012. Mixed and Mastered for Vinyl. 1) Midnight Moon 2) Mind Daze 3) Incense Head 4) Ring Finger 5) Electric Life 6) Meta 7) Diamond City 8) January Rain 9) I’ll Follow You Through The Floor
New Orleans-based singer-songwriter Julie Odell announces her new album Autumn Eve, out September 30th via tastemaker label Frenchkiss Records (Local Natives, Passion Pit, The Drums). Lead single Cardinal Feather is a quicksilver ripper, with both a graceful, silky patience and fiery rock motor. The accompanying video finds Odell lakeside in swampy Louisiana, shot from sunrise to dusk in the lush environment under swarms of mosquitoes. “We found the beauty in the chaos, much like finding peace beyond anxiety and depression.” says Odell.
Obscure congregation SPECTRUM MORTIS was formed in somber MMXV and under the sign of Baal. The gates of hell were opened to emerge their malevolent entrails to the black spell of death and destruction. Among the shadows arise Aataa and Aath to celebrate a black mass and closed with the arrival of Sheram and Ta’ao. These four reptiles complete to the perfect black circle for the enhancement to the necrosophia and the arts of the occult sciences.?The band released two mini albums : "Blasphemare Nomen Eius" in 2016 and "??????" in 2018 and a split album with Mexico's Hacavitz. SPECTRUM MORTIS played many live ceremonies as an authentic celebration of the fall of light and the cult of black fire under the sign of Baal. After signing with Listenable records, SPECTRUM MORTIS focused on the writing of their debut full-length album, immersed in ancient worlds between infinite passages buried in the sands of time, going back to the Sumerian saga of Apkallus and Ziggurats. Under that primordial influence, the band entered The Empty Hall studios in Madrid in 2021 and recorded “BitMeseri - The Incantation” scheduled for a September 2022 release. The band elaborates about 'Bit Meseri -The Incantation‘ : "We wanted to recover the essence of both mini albums and translate them into an authentic black celebration to continue enhancing the obscure arts and dimensions that we have managed to create with these works. This congregation will continue to write cold riffs of death under the path of ancestral rites and traditions, always low extreme care and obscure dedication. " SPECTRUM MORTIS transcends the listener with its inspired ceremonial occult death metal and their ‘Bit Meseri - The Incantation’ deeply masters that genre with great atmosphere and conviction. For fan of early MORBID ANGEL, IMMOLATION, NECROS CHRISTOS, DEAD CONGREGATION
- A1: The Poet Acts
- A2: Morning Passages
- A3: Something She Has To Do
- A4: “For Your Own Benefit”
- B1: Vanessa And The Changelings
- B2: “I'm Going To Make A Cake”
- B3: An Unwelcome Friend
- B4: Dead Things
- C1: The Kiss
- C2: “Why Does Someone Have To Die?”
- C3: Tearing Herself Away
- D1: Escape!
- D2: Choosing Life
- D3: The Hours
‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone
‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian
‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks
Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.
Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.
Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’
In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’
“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’
Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.
Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.
- 01: Adderall
- 02: The Dying Song (Time To Sing)
- 03: The Chapeltown Rag
- 04: Yen
- 05: Hivemind
- 06: Warranty
- 07: Medicine For The Dead
- 08: Acidic
- 09: Heirloom
- 10: H377
- 11: De Sade
- 12: Finale
Neon Yellow[24,16 €]
Legendary Iowan icons SLIPKNOT have announced details of their widely anticipated new album, THE END FOR NOW…, which will be released September 30th on Roadrunner Records.
The band has also shared the album’s lead single “The Dying Song (Time To Sing)” with an official music video directed by the band’s own M. Shawn ‘clown’ Crahan. The “The Dying Song (Time To Sing)” video, and the track itself, sees one of the world’s most popular and deeply enigmatic bands relentlessly charting new ground as they continue to redefine, revitalize, and reimagine the scope of rock music.
Produced By SLIPKNOT and Joe Barresi, THE END FOR NOW…. includes the band’s 2021 surprise single “The Chapeltown Rag” and follows their widely celebrated 2019 album WE ARE NOT YOUR KIND, which marked SLIPKNOT’s third consecutive #1 on the Billboard 200 and debuted at #1 on the UK Album Chart..
Legendary Iowan icons SLIPKNOT have announced details of their widely anticipated new album, THE END FOR NOW…, which will be released September 30th on Roadrunner Records.
The band has also shared the album’s lead single “The Dying Song (Time To Sing)” with an official music video directed by the band’s own M. Shawn ‘clown’ Crahan. The “The Dying Song (Time To Sing)” video, and the track itself, sees one of the world’s most popular and deeply enigmatic bands relentlessly charting new ground as they continue to redefine, revitalize, and reimagine the scope of rock music.
Produced By SLIPKNOT and Joe Barresi, THE END FOR NOW…. includes the band’s 2021 surprise single “The Chapeltown Rag” and follows their widely celebrated 2019 album WE ARE NOT YOUR KIND, which marked SLIPKNOT’s third consecutive #1 on the Billboard 200 and debuted at #1 on the UK Album Chart..
‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002
‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo
‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times
‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut
Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.
A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.
Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.
Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.
Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.
“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”
Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”
Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”
Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.
The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.
Limited edition of 500 copies on white vinyl. 40th Anniversary version with 12 page booklet: "D.O.A.'s History
of Hardcore" and three bonus tracks.
Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with guitarist Philip Catherine, pianist Joachim Kuhn and other session musicians, he recorded the 1974 album Toots Thielemans/Philip Catherine & Friends, which was later reissued as Two Generations. The album features some of his best known works such as “Bluesette” and “Inner Journey”, which were previously cd-only compositions.
Two Generations is part of the Timeless Records 45th Anniversary Jazz Series and is available as a limited edition of 750 individually numbered copies on white coloured vinyl. The sleeve features the artwork of the
1996 reissue.
LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?
SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching
Modern Rituals have announced their return with the release of upcoming new album, Cracking Of The Bulk. For a band who’ve tended to flesh out songs in the practice room and track live, the writing and recording of Modern Rituals’ third album was a disparate and protracted process. In cramped apartments and a secluded annex, sharing files over the internet and working on parts in solitude, the band introduced subtler tones from their last record, This Is The History. Yet still, this new direction is matched by an explosive frustration that gives it a unique balance of darker and lighter shades. Tour Dates:20th November - The Victoria Dalston, London 21st November - The Prince Albert, Brighton 22nd - The Crofters Rights, Bristol 23rd - Voodoo Daddys Showroom, Norwich 24th - Gorilla Studios, Hull 25th - Hyde Park Book Club, Leeds 26th - The Jericho Tavern, Oxford 27th - JT Soar, Nottingham
1. Mixx3ed 2. The Flow 3. Nails of Love 4. Wastrel 5. Western Cut 6. Scummeth 7. Incipit 8. Sonder 9. Dog Jerky Haiku 10. Perpetual Dawn
Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.
Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories
White Vinyl[27,31 €]
Polly Paulusma follows up her critically acclaimed 2021 album 'Invisible
Music' with 'The Pivot On Which The World Turns' out via One Little
Independent folk subsidiary Wild Sound.Affectionately shortened to
'Pivot', the album marks a return to her singular brand of insightful songs
that, in their subject matter, roam around the badlands of love, sex and
parenthood, death and grief, failure and success, violence and healing
Most poignantly the album focuses on the roles of women, in our lives and
across history, from a variety of perspectives.'Pivot' swings from the warm, bluesinspired Americana of 'Back Of Your Hand' and 'Dirty Circus', to the more
traditional folk of 'Brambles and Briars' and 'Robin', as well as poetic, pop
curiosities such as 'Snakeskin' and the effervescent 'Luminary', all of which
combine to make up Polly's most sonically adventurous album to date. As always,
she delights in the telling of stories, with littered spoken word aiding her as she
utilizes infectious melodies and a light delivery to explore her characters.
The product of a decade of writing, she tells us that "the album's title 'The Pivot
On Which The World Turns' is a corruption of a moment in the Russian novel Anna
Karenina by Leo Tolstoy, in which Stepan Arkadyitch knowingly confesses,
"women, my boy, they're the pivot everything turns upon". In context, Stepan and
Levin are discussing romantic relationships, but I saw wider interpretations of this
epithet".
Each track on the LP examines a different aspect of life that women play, and
"charts a development for me through all the roles I pivot on in a day, a week, a
year, a decade". 'Snakeskin' represents the daughter, 'Back Of Your Hand' is the
love interest, 'Dirty Circus' the mother and so on. "I truly believe, having travelled
the last few years, having endured grief and horror and having discovered and
pivoted on all these people that I am capable of being, that by learning how to
love, and re- learning, and learning again, so many of the wartier and knobblier
parts of me can be forgiven, and translated into something better".
Black Vinyl[27,31 €]
Polly Paulusma follows up her critically acclaimed 2021 album 'Invisible
Music' with 'The Pivot On Which The World Turns' out via One Little
Independent folk subsidiary Wild Sound.Affectionately shortened to
'Pivot', the album marks a return to her singular brand of insightful songs
that, in their subject matter, roam around the badlands of love, sex and
parenthood, death and grief, failure and success, violence and healing
Most poignantly the album focuses on the roles of women, in our lives and
across history, from a variety of perspectives.'Pivot' swings from the warm, bluesinspired Americana of 'Back Of Your Hand' and 'Dirty Circus', to the more
traditional folk of 'Brambles and Briars' and 'Robin', as well as poetic, pop
curiosities such as 'Snakeskin' and the effervescent 'Luminary', all of which
combine to make up Polly's most sonically adventurous album to date. As always,
she delights in the telling of stories, with littered spoken word aiding her as she
utilizes infectious melodies and a light delivery to explore her characters.
The product of a decade of writing, she tells us that "the album's title 'The Pivot
On Which The World Turns' is a corruption of a moment in the Russian novel Anna
Karenina by Leo Tolstoy, in which Stepan Arkadyitch knowingly confesses,
"women, my boy, they're the pivot everything turns upon". In context, Stepan and
Levin are discussing romantic relationships, but I saw wider interpretations of this
epithet".
Each track on the LP examines a different aspect of life that women play, and
"charts a development for me through all the roles I pivot on in a day, a week, a
year, a decade". 'Snakeskin' represents the daughter, 'Back Of Your Hand' is the
love interest, 'Dirty Circus' the mother and so on. "I truly believe, having travelled
the last few years, having endured grief and horror and having discovered and
pivoted on all these people that I am capable of being, that by learning how to
love, and re- learning, and learning again, so many of the wartier and knobblier
parts of me can be forgiven, and translated into something better".
4LP Deluxe Edition[60,92 €]
Following on from the success of 2020's deluxe reissue of 'Vienna',
Chrysalis Records are proud to release a 40th Anniversary of the bands
second album with Midge Ure, 'Rage In Eden'
Originally released in October 1981 and like the bands previous two albums, it
was produced by Conny Plank (Kraftwerk, Can, Neu!), this time recorded at
Conny's studio in Cologne during the summer of '81.
This new 6 Disc box set contains 52 tracks, with 22 previously unreleased
recordings. CD's 1 to 5 contain the original 1981 album production master, a new
stereo mix by Steven Wilson, A-sides, B-sides & live tracks along with previously
unreleased cassette rehearsals and a newly mixed concert recorded at
Hammersmith Odeon in October 1981. The DVD (Audio Only) contains a new 5.1
Surround Sound Mix of the Album/B-sides by Steven Wilson along with 24/96 HiRes audio of the new mixes and the original 1980 Master/B-sides.
The set is packaged in a 12"x12" Rigid Slipcase and contains a 20 page 12"
square booklet featuring contributions from the band, unseen photos from Midge
Ure's and Chris Cross' personal collection, reproduction of the Rage In Eden tour
programme, 6 discs in card wallets housed in two 12" gatefold album sleeves.
2LP Half-Speed Mastered[30,67 €]
Following on from the success of 2020's deluxe reissue of 'Vienna',
Chrysalis Records are proud to release a 40th Anniversary of the bands
second album with Midge Ure, 'Rage In Eden'
Originally released in October 1981 and like the bands previous two albums, it
was produced by Conny Plank (Kraftwerk, Can, Neu!), this time recorded at
Conny's studio in Cologne during the summer of '81.
This new 6 Disc box set contains 52 tracks, with 22 previously unreleased
recordings. CD's 1 to 5 contain the original 1981 album production master, a new
stereo mix by Steven Wilson, A-sides, B-sides & live tracks along with previously
unreleased cassette rehearsals and a newly mixed concert recorded at
Hammersmith Odeon in October 1981. The DVD (Audio Only) contains a new 5.1
Surround Sound Mix of the Album/B-sides by Steven Wilson along with 24/96 HiRes audio of the new mixes and the original 1980 Master/B-sides.
The set is packaged in a 12"x12" Rigid Slipcase and contains a 20 page 12"
square booklet featuring contributions from the band, unseen photos from Midge
Ure's and Chris Cross' personal collection, reproduction of the Rage In Eden tour
programme, 6 discs in card wallets housed in two 12" gatefold album sleeves.
After almost a decade-long hiatus, cult 6-piece MFMB announced their
return with the long-awaited album - Sugar
The followup to 2012's critically- acclaimed "Colossus", "Sugar" revives the dark
and driven alt- rock the Swedes made their name with - equal parts rigor and
finesse, wracked with nervous tension. This time around, however, a democratic
approach to the writing process was decided on, with each member contributing
equally to the sound and feel of the record. The result is unmistakably the sound
of MFMB, but reinvented for these tempestuous times. The making of the album
is a story in itself. "Sugar" is seven years in the making. It has been a bumpy ride.
They were not always the best of friends. Priorities changed. Members quit, then
joined again. It was never easy. We believe you can hear it on the album, how
every song is a result of differing opinions fighting it out until they landed. In the
end, it's MFMB, but ringing purer than ever before. MFMB have remained prolific
throughout their hiatus, which includes Joakim Lindberg becoming one of the
underground scene's most in- demand producers, working with the likes of Hey
Elbow, Spunsugar, This Is Head, and many more.
A heady and adventurous experience with ever-shifting elements of jazz,
fuzz guitar, blues rock and psychedelia! Graffiti's origins can be traced
back to 1967 and the dissolution of The Hangmen, a popular Washington
DC area garage rock act well noted for the proto-punk stylings of their
singles € What A Girl Can't Do € and € Faces
€ Singer Tony Taylor, a late addition to the band's lineup, recruited guitarist
George Strunz to the group and soon announced the band would pursue a more
psychedelic direction. It didn't take long for Graffiti to attract label attention, and
by August of 1968 the band signed to ABC Records and released their debut
single, € He's Got The Knack. € In November of 1968 they released their one and
only album.
The juxtaposition between Graffiti's smooth vocal harmonies and their intricate
songwriting is stark. One moment the group is immersed in all of the feel-good
pop songwriting tropes of the era, oftentimes quite reminiscent of acts like The
Association and The Mamas & The Papas. Meanwhile, the next moment sees the
band vamping into extended passages, odd chord sequencing, and off beat time
signatures, highlighted by Strunz's frequent fuzz laced soloing and the energetic
drumming of Richie Blakin. The legacy of Graffiti's self-titled debut was seemingly
hampered by the fact that that it is often lumped in with the plethora of other oneand- done psych releases of the time, an era in which major labels were falling
over one another in an attempt to capitalize on the psychedelic sounds
popularized by the Summer of Love. This is unfortunate because Graffiti's
approach to songwriting and blending together of jazz, classical, and rock
elements are rather groundbreaking, precursors to the arrival of progressive rock -
proto-prog pioneers, if you will.
Cristy C Road has built a reputation in punk circles for her heavily political
visual art, showcasing her skills through zines, books, tarot cards, and
album art for bands such as the Muslims
Focusing on her identity as a queer latinx woman, these projects represent an
important part of her creative expression, but to her, they are just one part of a
larger whole. While her visual work thrived, Road was sharing another part of
herself with the world through music, most recently with her band Choked Up.
While her illustration allows her the opportunity to express frustration with an
unjust status quo, her music captures the parts of life that happen in between
politics. Feeling pigeon holed into the themes of her visual art, Road explains - its
an annoying task to be expected to be a certain way because you're a woman or
you're latina or you're queer. Choked Up pushes against that expectation by
making simple, catchy pop- punk rooted in everyday feelings. Pressed on Pink
color vinyl.


















