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Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.

Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers merging in a unique musical blend.

Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu Genea's hometown, Napoli, becomes a true place of encounter.

You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.

Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté", where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song, giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic, deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multi-textured instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’ Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.

Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions, they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to unexpected musical journeys.

2024 repress

Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. TIP!

Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish progrock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

In 1982 Bibiloni set up his own label Blau in order to highlight the muchoverlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds
and technologies; fusing tape loops, drum computers and synthesizers.

Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, 'El Sur' sets out to highlight Joan Bibiloni's unique ambient fusion and sun-drenched Mediterranean beach boogie.

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence.

There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that’s existed throughout the entirety of her career. At the center, there has always been Wolfe’s woeful longing and beguiling gravity, though the framework for compositions has continuously evolved based on whatever resources were available. Her austere beginnings were gradually bolstered by electronics and filled out with full-band arrangements. The music became increasingly dense and more centered around live performances. Her latest album, Birth of Violence, is a return to the reclusive nature of her earlier recordings

“I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“ Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).

The album opens with “The Mother Road,” a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It explains the nature of the record—the impact of countless miles and perpetual exhaustion—and the desire to find the road back home, back to one’s roots. Songs like “Deranged for Rock & Roll” and “Highway” offers parallel examinations on the trials and tribulations of her journeys while the ghostly “When Anger Turns to Honey” serves as a rebuttal to self-appointed judges.

While the record touches upon tradition, it also exists in the present, addressing modern tragedies such as school shootings in the minor-key lullaby “Little Grave” and the poisoning of the planet on the dark wind-swept ballad “Erde.” But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. Much like Alan Ginsberg’s hallucinatory long-form poem Howl, the tracks “Dirt Universe” and “Birth of Violence” weave together specific references from her past into an esoteric overview of the state of mankind. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension.

“These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

European Headline tour confirming now for 2020. UK/EU Publicity handled by Lauren Barley at Rarely Unable. Immense support from Press, including coverage with NPR, Pitchfork, FADER, Vice, Revolver, Decibel, Under The Radar.

Travis Stewarts Reise zur Entstehung von „3FOR82“ begann passenderweise am 4. März. An seinem 41. Geburtstag, am 4. März letzten Jahres, wagte er sich in den Joshua Tree National Park in Kalifornien, um Klarheit und Inspiration für sein nunmehr elftes Studioalbum als Machinedrum zu finden. Zwölf hochintensive, nachdenkliche Tracks, die die Nadel zwischen seinem vergangenen, gegenwärtigen und zukünftigen Ich spannen.

Angesichts der Tatsache, dass Ninja Tune eines der Lieblingslabels des jungen Travis Stewart war, spricht dies für ein Mantra, das die Platte leitet: Nostalgie durch eine zeitgenössische Linse zu betrachten. In den stillen Weiten des Joshua Tree durchforstete Machinedrum alte Festplatten mit seinen Beats aus den späten 90er Jahren: Viele von ihnen wurden mit ‚Impulse Tracker‘ erstellt, einem groben Freeware-Programm, das fast ein Vierteljahrhundert lang unangetastet blieb. Nachdem er einen DOS-Emulator gefunden hatte, auf dem ‚Impulse Tracker‘ lief, nahm er sich selbst auf, wie er diese Beats spielte, um „3FOR82“ zu bauen: Sample für Sample erstellte er originale Sound-Datenbanken, die in eine eigene Bibliothek eingespeist werden konnten und „3FOR82“ einen unverwechselbaren Klang verliehen. Ausgewählte Zitate werden als Monologe oder Samples in die Musik eingeflochten - der Opener von „3FOR82“, „Oracle“, beginnt mit Reflexionen von Aja Monet über das Tanzen allein. Auf der Leadsingle, „ZOOM“ erzählt Tinashé von jugendlicher Lust auf der Tanzfläche; an einer Stelle in „KILL_U“ erinnert Tanerélle mit ihren beruhigenden Tönen daran, dass man manchmal „verloren ist und dann wieder gefunden wird, und dass man so viel erreichen kann.“; in „U_WANT“ sagt sich KUCKA selbst, dass „es bessere Tage geben wird“, während ROZET in „RISE“ riffet, dass sie „vom Boden in den Himmel wachsen wird.“. Die Wirkung, die das Thema auf „3FOR82“ hat, ist zart und eindringlich und verbindet diese Stränge von R&B, Pop, Jazz und Drum & Bass miteinander.

* The long awaited follow-up to `Dub from the Heart Part 2’ which was released 26 years ago.
Good things come to those who wait.
* A modern venture into raw dub-wise territory with weighty sub bass-lines built for sound system and annoying the neighbours.
* Featuring the voices of Ranking Joe, Jah Mason, Hughie Izachaar and Martin Luther King Jr.

Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

Ein Hip-Hop Klassiker wird erwachsen: 21 Jahre nach Erstveröffentlichung erscheint das posthum erschienene Album des viel zu früh verstorbenen Bay Area MC’s Charizma und des Stones Throw Gründers Peanut Butter Wolf auf Apple Juice Vinyl, der Farbe von Charizma‘s Lieblingsgetränk.

'Big Shots' 2LP Repress auf farbigem Apple Juice Vinyl. Eine Hommage an Charizma's Lieblingsgetränk.

Stones Throw Records hat eine Apple Juice-Variante gepresst, um an eine der ersten Veröffentlichungen des Labels zu erinnern: Charizmas Hip-Hop-Klassiker Big Shots aus dem Jahr 2003.
Eine Ewigkeit ist seit der Ermordung von Charles "Charizma" Hicks ins Land gezogen, der im Dezember 1993 im Alter von 20 Jahren starb. Trotz seines kurzen Lebens hinterließ Charizma bei allen, denen er begegnete, einen bleibenden Eindruck. Charizmas Tod traf seinen engen Freund und Hip-Hop-Produktionspartner Chris "Peanut Butter Wolf" Manak tief, der nach der Nachricht für mehrere Monate aufhörte, Musik (und alles andere) zu machen. Doch erst der Mord an Charizma gab PB Wolf den Anstoß, weiterzumachen und seine Musik der Welt zu präsentieren - und zu diesem Zweck sein eigenes Plattenlabel zu gründen. 1996 gründete Wolf Stones Throw Records und brachte als erste Veröffentlichung eine 12"-Single von Charizma/PB Wolf mit dem Titel 'My World Premiere' heraus.
Mit dieser posthumen Veröffentlichung können Hip-Hop-Fans nur spekulieren, welche Höhen Charizma hätte erreichen können, wenn er heute noch da wäre.

Öjskog’s debut album Dolda Byar is a study in explorative, farreverberating industrial and techno landscapes as described by Berlin’s Hardwax record store. The remixes EP of Dolda Byar continues down the explorative and experimental path with four exceptional remixes from Notzing, Ena, BODYXVIII and Fresnal Lens. Notzing’s Dream remake of Aatos delivers intricate time signatures and layering that produces an ethereal landscape of the original, while Ena highlights his signature micro-sampling style of organic and found sounds to deliver a twisted remix of Kefhel. BODYVXIII’s remix of Gleymdu is an opaque study in sonic experimentation and Fresnel Lens rounds off the EP with a haunting and unnerving reduction of Hanna. Mastered & Cut by Tim Xavier at Manmade Mastering Berlin

Electronic Works for Choreography, Soundtrack, and Art Installation 1976-1996

Marden Pond’s “Evaporations” (1976-96) is an archival project showcasing the composers experimental music approaches that utilize synthesizers, electronics, and computer. These rare or unreleased tracks and demos were initially purposed for art installation, dance and theater , music exploration, and ambient listening experiences. Marden was artistically right beside his contemporaries of the Land Artist Movement of the Southwest during the 70’s, as he created soundscapes inspired by the vast and bizarre features of Utah. Some of the other work presented on this record was to inspire physical movement by use of unorthodox arrangements and percussive rhythms, juxtaposed with fleeting synth phrases and environmental textures.

Besides the two tracks included from Marden’s hyper rare 1980 private press LP “Castle Valley Impressions”, this collection of music is being presented on vinyl for the first time.

With 'Stone Flute', the free-improvising duo's third studio album proper, Galecstasy returns to the universe of synthesizers to deliver an aural odyssey, conjuring the ancient tones of a forgotten world.
The album was entirely conceived and recorded in, and around, the majestic landscapes of Joshua Tree National Park in the magnificent high desert of southern California. From atop the mountain, the two sonic surveyors were witness to a 360 degree view of the stars at night. From above, the giant rocks looked like immense wise faces looking up at the sky, or even huge bodies resting on the Earth and looking up at space. It was during this time that Galecstasy started a ritual that ended up being called the “Moon Cruise”. This would involve waiting for the full moon to rise and then driving into the national park after dark. They would turn off the headlights of the car and drive slowly through the alien landscape lit up by the moon. Boulder fields took on the shape of temples; faces carved into the rocks everywhere they looked; giant heads with smiles or haunting expressions; and the knowledge that people had been living, dancing, and making music here for thousands of years. It was during these enchanting escapades that 'Stone Flute' was conceived.
In the mountain-top recording studio, the band were utilizing every potential space to tap into the best vibrations the land had to offer. Where the mic was placed: Perhaps a giant boulder once stood, or an ancient tree. One could feel the different energies of every room. The fireplace in the living room was built of giant lava rocks for the music to swirl around. Sounds would spill and climb around the house.

"The living room was just a beautiful tangle of synthesizers and plants. It was an inspiring place to make great records. We channeled the music of the boulders buoyed by the energy shooting up from the fault lines. The good feelings emanated from the studio, it had become our own temple and the birthplace of 'Stone Flute'."

With 'Stone Flute', the free-improvising duo's third studio album proper, Galecstasy returns to the universe of synthesizers to deliver an aural odyssey, conjuring the ancient tones of a forgotten world.
The album was entirely conceived and recorded in, and around, the majestic landscapes of Joshua Tree National Park in the magnificent high desert of southern California. From atop the mountain, the two sonic surveyors were witness to a 360 degree view of the stars at night. From above, the giant rocks looked like immense wise faces looking up at the sky, or even huge bodies resting on the Earth and looking up at space. It was during this time that Galecstasy started a ritual that ended up being called the “Moon Cruise”. This would involve waiting for the full moon to rise and then driving into the national park after dark. They would turn off the headlights of the car and drive slowly through the alien landscape lit up by the moon. Boulder fields took on the shape of temples; faces carved into the rocks everywhere they looked; giant heads with smiles or haunting expressions; and the knowledge that people had been living, dancing, and making music here for thousands of years. It was during these enchanting escapades that 'Stone Flute' was conceived.
In the mountain-top recording studio, the band were utilizing every potential space to tap into the best vibrations the land had to offer. Where the mic was placed: Perhaps a giant boulder once stood, or an ancient tree. One could feel the different energies of every room. The fireplace in the living room was built of giant lava rocks for the music to swirl around. Sounds would spill and climb around the house.

"The living room was just a beautiful tangle of synthesizers and plants. It was an inspiring place to make great records. We channeled the music of the boulders buoyed by the energy shooting up from the fault lines. The good feelings emanated from the studio, it had become our own temple and the birthplace of 'Stone Flute'."

"Fast hätten wir gedacht: es könnte gut ausgehen". Zwei nervenaufreibende Jahre lang haben L'APPEL DU VIDE aus Chemnitz an ihrer Debüt-EP gearbeitet, jetzt ist die "Abwärtsspirale" in Gang gesetzt. Ihre selbstgewählte Genre-Zuschreibung Dark Punk kratzt dabei nur an der Oberfläche. Das Spektrum reicht vom aggressiv-düsterem Surf-Punk ("Das bin ich nicht") über spröden, repetitiven Sound mit Noise-Ausbrüchen ("Aufmerksamkeit") bis zu hymnisch-melodischen Post-Punk ("Delirium"). Bei "Das Programm", - einer bittersüßen Romanze in Zeiten totaler Überwachung - , wird es plötzlich ungewöhnlich ruhig-melancholisch dank 60ies-Orgel und Background-Gesang von Mara. L'APPEL DU VIDE beschäftigen sich textlich in knappen Worten mit Verleugnung, Scheitern und Entfremdung. "Delirium" klingt dabei wie der Soundtrack zur Pandemie, wurde aber schon 2019 geschrieben. Die Songs wurden von Flatty aufgenommen und klanglich von Max Herrmann/Gloven Studio Leipzig (Mix) und Mikey Young (Mastering) veredelt.

Es ist 2021, und eine Pandemie würgt die Welt ab - und niemand scheint Spaß zu haben. Der scheinbar unermüdliche Musikfreak Peter Tägtgren kümmert das wenig, denn er landet einen Volltreffer mit - Entschuldigung für die harte Sprache - einer verdammt eingängigen... naja, Partyhymne.

Wir sprechen natürlich über den Song ?Party in My Head' von Tägtgrens synthinfiziertem Metal-Projekt PAIN. Unser geliebter Planet mag am Ende sein, aber in der Welt von PAIN scheint immer noch nicht viel falsch zu sein, da 2024 schnell im Kalender voranschreitet.

Es kann einfach nicht sein, denn das sehnlich erwartete neue Studioalbum von PAIN, "I Am" ist bald hier - ja, nach acht Jahren des hingebungsvollen Wartens. Das kraftvoll klingende "I Am" ist wirklich eine vielseitige - wenn nicht die vielseitigste - musikalische Rakete in PAINs reicher Diskographie. Die neuen Songs bewegen sich überall mit schweren industriellen Riffs, eindringlichen melancholischen Vibes und groove-gefüllten Rhythmen - ohne Überraschungen natürlich zu vergessen.

Im Jahr ihres dreißigsten Band-Geburtstags, schauen die DONOTS zurück auf die vergangenen drei Dekaden und können es mit Kopfschütteln überhaupt nicht fassen, dass das Durchbruchs Album "POCKETROCK" am 8. Januar schon 23 Jahre alt wurde... Vergriffen ist die im Jahr 2001 erschienene Platte mit essentiellen frühen DONOTS-Hits wie "Whatever Happened To The 80s", "Room With A View", "Superhero" oder "Today" nach so einer langen Zeit natürlich schon längst. Die STANDARD VERSION gibt es nun als Wiederauflage auf 180g Vinyl in roter Farbe, mit bedruckten Maxi-Innentaschen in einer Kastentasche und im originalen Artwork.

Lange nicht auf Vinyl verfügbar ist „Native Tongue“, das vierte Studioalbum der „Hair“ Metal Band Poison, endlich neu aufgelegt worden. Im Original wurde das Album 1993 veröffentlicht. „Native Tongue“ erreichte die Top 20 sowohl in den US Billboard Top 200 als auch in den UK Album Charts. Neben der Stammbesetung mit Brett Michaels, Bobby Dall und Rikki Rockett wurde Richie Kotzen an der Lead Gitarre verpflichtet. Native Tongue wurde von Richie Zito produziert. Die vorliegende 2LP Version enthält drei Bonus Tracks, die nicht auf dem Originalalbum enthalten waren.

A Paris resident of Minsk origin, Lina Filipovich’s ‘Music for an imaginary dancefloor’ explores the liminal space between club music and something altogether weirder, elusive, and abstract. Nervous, varied and amplified by various delays, the LP was written from improvisations on analogue synthesizers between June and December in 2022.

Atonal drones and atmospheric textures convey imagery of charcoal skies and silk tapestries; an idealised parallel world untethered from reality and bodies, towards something more ethereal – floating freely in red carpet lined corridors.

“In my previous works, I used pre-existing sounds to create new pieces. I was interested in the appropriation and decontextualization of materials from various traditions and contexts. However, in this album, I don't deconstruct; instead, I attempt to co-write with the machines, relying on their aesthetics and my imagination.”

Lina's LP trickles down the spine, pulse-raising and gooseflesh on tender skin, analogous to the aftermath of a sweaty fever dream. Speaking the language of spirits in the allure of the dark.

Press release by Asmi Shetty

Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

Bow To Love is the new album from Glasgow-born singer-songwriter Isobel Campbell. The result is an inquisitive, complex and fully matured album from an artist who has travelled long and far. Campbell was first noticed as a teenage founder member of Belle & Sebastian, before she released two dream-folk solo albums under the name The Gentle Waves and left B&S in 2002. Two records under her own name followed, leading to a union with late rock-carved growler Mark Lanegan for three albums of gravel"n"honey Americana duets, where Lanegan would stand aside while Campbell called the creative shots.

Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.

Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.

Hampton Hawes, For Real! was recorded in 1958 but not released on the Contemporary Records label until 1961. Featuring Hawes (piano) alongside Harold Land (tenor sax), Scott LaFaro (bass) and Frank Butler (drums) the album includes a mixture of both jazz standards and originals. This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.