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Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.

Hooveriii - A Round of Applause Time after time, we all talk about … well, time — often in aphorisms and cliches. X is “a waste of time,” while Y is “time well spent.” We are all apt to lose track of time but, perhaps in equal measure, we have plenty of time on our hands. We think we have all the time in the world -- until we remember that time flies, after which our time runs out and we’re dead (for a long time). Since 2020, internal clocks have had to be readjusted with the pace of life ebbing and flowing. For Los Angeles psych-rock sextet Hooveriii (pronounced "Hoover Three") that adjustment seeped its way into their songwriting and ultimately their forthcoming album, A Round of Applause. The record cherrypicks from an array of genres — pop, girl-group ditties, synth-ish keyboards and funk —but the end result is a cohesive long-player with songs that revolve around the Spanish Inquisition (“Stone Man”); or follow “the legendary Peruvians who run long distances in the Andes Mountains (“The Runner”). “I let my imagination run wild,” Hoover said. Elsewhere on A Round of Applause, the Hooveriii frontman finally recorded a song, “The Pearl,” that he wrote in 2017. “It sounds like a Harry Nilsson jingle like to me, a fantasy song,” he continued. “It's more like a nursery rhyme than a song with an important message. You know, it's just like keeping things fun. … Nilsson didn’t take everything so fucking seriously. We want to avoid that self-seriousness. We're a bunch of goofy musicians.”

The masters of the brazilian old school death metal KRISIUN are back. After their last album "Scourge of the Enthroned", which was released in 2018, the three Sao Paulo brothers deliver another board-hard and incredibly strong new studio album. On "Mortem Solis" Krisiun convince with precise riffs and hard-hitting sound with the active support of Mark Lewis (production and mix). “Mortem Solis” will be available as Ltd. CD Digipak, 180 gram LP and on all digital platforms.

• Remastered for maximum fidelity.
• Features deluxe packaging, a fold out posted and a patch.
• Limited and individually numbered.

Fear Factory is an American Industrial Metal band formed in Los Angeles in 1990. Throughout their career they have released nine full-length albums with a tenth studio album coming in 2021. Soul Of A New Machine is the band’s debut album for Roadrunner Records, released on August 25, 1992.

AllMusic's Jason Birchmeier gave the album three stars out of five, remarking that "Fear Factory were quite ahead of their time in 1992". The critic also noted the diversity of the genres featured in the recording, saying that "Soul of a New Machine was so ground-breaking because it fused together some of the best aspects of numerous metal subgenres", which "[resulted] in a unique sound". Rock Hard rated the album highly, saying that the sound of the album was strange, indescribable yet required listening. Rock Hard also complimented the blending of various sub-genres, with particular note to Burton Bell for managing such an eclectic set of vocals.

Recorded under a loft bed in the guest bedroom of his Nashville home, Michael Ruth aka Rich Ruth’s “I Survived, It’s Over” starts in a humble space. And while many contemporary music projects are produced in such an environment, “I Survived, It’s Over” sets itself apart in its transformative properties as well as its transparency. What we have here is honest sound exploration, session musician-level instrumentation, and a true love for nature run through the fingers of a dude who can channel some acute and undeniable magic. This music goes deep. "I conceived much of this record amidst the quiet and tumult of 2020 in my neighborhood that had recently been ravaged by a tornado," Ruth recalls, "I spent most of my days working on these pieces between bicycle rides - watching the beautiful Tennessee ecosystem flourish in Shelby Park, listening to Keith Jarrett’s The Koln Concert and John Coltrane’s Ascension." Underneath the swell of the strings and the shredding of the guitars, this record has hard working, rustbelt, drum-heavy roots all over it (which makes sense as Ruth hails from outside of Toledo, the album was mixed by John McEntire from Chicago band Tortoise). Many of the flutes, saxophones, pedal steel, and other instruments were recorded remotely because we live in the future, but this only adds to the collage of sampled and sample-able material that Rich Ruth has to offer. The organic relationships between the artist and other musicians on the album is evident even in the compilation style sampling that needs to occur in putting such a project together. "Working on this music is a daily meditation," says Ruth. "I constantly experiment with sound until it reflects the way I am feeling and attempt to sculpt something meaningful from it. Through years of being a touring musician, it is a constant inspiration and privilege to collaborate with the individuals that graced this record with their voices." And those relationships pay off, because “I Survived, It’s Over” is a sonic meal. It’s rich (no pun intended) with massive instrumentation that’s usually reserved for more symphonic delights. But at the same time it’s simple and leaves space to breathe–space you didn’t know you needed. In his own words; "I Survived, It’s Over is a meditation on healing, confronting trauma, surrendering, and finding peace. I wanted to encapsulate the tranquility and disarray found within this process." Ruth’s heart and the peace that his presence produces is all over this album. And despite his midwestern humility and willingness to brush off any praise, he’s put together something really special that carries its own weight. It's the kind of record that only comes around every once in a while and it's worthy of all the head-bobs, acclaim, and celebratory potlucks that Mike and the gang have coming their way. “I Survived, It’s Over” is a record you should buy for your friend, your foe, and yourself. It’ll sit perfectly on your shelf between Alice Coltrane and Hiroshi Yoshimura.

Purple + Yellow Vinyl Limited


Es ist das mit Spannung erwartete Musik-Highlight des Jahres: Andrea Berg überrascht ihre Fans mit einem neuen Album der Extraklasse. 30 Jahre Andrea Berg: Giovanni Zarrella, Maite Kelly, DJ Ötzi, Kerstin Ott, Al Bano, Semino Rossi, Nik P., Nino de Angelo sowie weitere hochkarätige internationale Stars haben eigens für das neue Album "Ich würd 's wieder tun" gemeinsam mit der Ausnahmekünstlerin Songs aufgenommen. Der Blick auf das Tracklisting verspricht für die kommenden Wochen bis zur VÖ zudem noch einige Überraschungen... Ein einzigartiges Album einer Künstlerin, die mit unzähligen Tophits Musikgeschichte geschrieben hat, Generationen vereint, voller Dankbarkeit zurück und gleichzeitig mit großer Vorfreude nach vorne blickt. Getreu dem Motto: "Ich würd's wieder tun". Die limitierte Fanbox enthält neben dem Album tolle Specials. Die CD umfasst 19 Songs und beinhaltet neben dem Booklet mit den Lyrics der einzelnen Songs noch ein zusätzliches Booklet mit den schönsten Impressionen aus 30 Jahren Andrea Berg sowie als weiteres Special ein Nearly Real-Tattoo mit dem Schmetterlingscover-Motiv für den perfekten Look zu den Live-Shows "30 Jahre Andrea Berg - Ich würd 's wieder tun". Außerdem ist der Box eine Autogrammkartensammlung (unsigniert) aus 30 Jahren Andrea Berg beigefügt - ein Muss für alle Fans, auf die darüber hinaus noch ein Tütchen Blumensamen "Schmetterlingswiese" wartet.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the
time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music,
jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove
movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna
based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for
many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa
Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered
one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector
and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten
gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:
Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and
Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo
album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru
and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre
Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.
After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation
of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry
Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with
the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with
international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam
Recordings, !K7.

The latest three CDs on the Irma label “I Don’t Want This Groove To Ever End” (2012), “Ain’t Nothing But A Groove” (2013), “Don’t Let
The System Get You Down” (2015) and “Beggar Groove” (2017) show the funkiest and grooviest side of LTJ !
In the last years LTJ has literally toured the world, some really important and popular Festivals have booked him for his reknown DJ
Set performances, Scottish Soul Weekender (Dumfries, Scotland), Mareh Festival (Boipeba Island, Brazil), Garden Festival (Tisno,
Croatia), Jazz Refound Festival (Vercelli, Italy)
And visiting Cities like: Tel Aviv, Skopje(Macedonia), Belfast e Derry (Ireland), London, New York, Berlin, Bucarest, Amsterdam, Paris,
Marsille, Barcelona, and Vilnius (Lithuania). just to name a few.
Deepening of a Groove is the new album, the fifth dedicated to the research of sounds Disco Funk from its origins revisited by today's
rhythms and the dancefloor feeling of 2000. For the first time on this album 4 sung songs appear. Bad Side (already released in single
version) and Infiltrator are sung by Anduze, soul singer from Los Angeles also known for his collaboration with Parov Stelar. I'm Gonna
Funk U and Stranger are sung by the Marche singer AdniL for the first time in collaboration with LTJ.

After the intriguing collaborative efforts on their debut EP “Tender Trance” and the follow-up EP “Sueño”, DJ Gigola and Kev Koko are back with a 3-track record. Continuing their hybrid production style, this time, they are joined by rapper Perra Inmunda. Perra’s fast paced flow and staccato rhymes blend seamlessly with Kev Koko’s signature groove. Together with DJ Gigola's airy, ethereal chorus vocals, the result is a playful exploration of modern music that picks up right where the previous EPs left off: blurring lines between techno, pop, and now also, rap. Lyrically, the EP examines three different aspects of love. Sweaty dances on the floor, kisses lost on the way home and the solitude of being left unanswered; it seems only fitting they chose the title “No Es Amor”. The EP will be released on "Live From Earth Klub" on 8 April 2022 in both digital and physical formats.

Tape
Los Angeles native Sha Sha Kimbo undeniably lives for the rave. As exemplified through her every intentional move as a producer, DJ, promoter, radio host and label owner, Sha Sha radiates an unwavering love for amplifying, nurturing and supporting the culture of underground electronic music and the community that surrounds it, with her forthcoming release absolutely no exception to this.

Set for release as a digital download and limited edition cassette tape on August 13, the LA rave staple is happy to announce her debut EP on Evar Records, Total Chaos. A brilliant testament to the cathartic importance of staying up late and getting lost in a buzzing crowd of kindred spirits, Total Chaos harnesses the universal experience of having pent-up energy into massive, angst-ridden breakbeat anthems. Over six tracks, Sha Sha channels the hair-raising spirit of '90s rave along with her formative experiences with DMZ-via-Low End Theory dubstep and punk rock. Finding her place within LA's bass music, house, techno and rave scenes while defying easy categorization, Sha Sha personifies the no-rules electronic music ethos behind John Frusciante and Aura T-09's Evar Records. To supplement Total Chaos' three originals, LYZZA, Machine Girl and LCY provide three raw remixes highlighting various aspects of Sha Sha Kimbo's renegade rave spirit.

Drawing from the Los Angeles punk rock and '90s rave music that soundtracked her youth, Total Chaos personifies how she grew up on the dance floor, showcasing Sha Sha's tried and true ability to express rich, nuanced emotions through tracks that, first and foremost, can level a warehouse party. Kicking off the vibe on July 30, the EP's lead single "Save The World" is a perfect representation of this, with the jump-up rave cut employing a megaton breakbeat and sickly-sweet vocal samples over simmering base of dark, UK-influenced atmospherics. From the late night energy of the title track to the euphoric, dawn-breaking feel of "Limited Perfect," Total Chaos offers the refuge of a robust dance floor with the warm reassurance to be one with the universe.

Rounding out Total Chaos EP are three remixes that amicably and serendipitously support Sha Sha Kimbo's visionary aim to both explore the unknown and bring people together along the way. Brazilian-born, Amsterdam-based powerhouse LYZZA adds a full verse and a nest of serrated rhythms to her version of "Total Chaos," while New York's Machine Girl applies their trademark punk electronics approach to "Save The World." Meanwhile, Bristol's own LCY hollows out "Limited Perfect" into a haunting amalgam of post-punk minimalism and low-frequency pressure. A study of the opposing light and dark energies of underground dance music, Total Chaos presents a breakbeat-heavy vortex, sure to awaken everyone's inner raver.

Guymon Ensley is a renowned trumpeter from Los Angeles and with Bernard Gibson on lead vocals they have provided an uptempo jazz soul crossover gem. On the B Side we have chosen an instrumental version of the song which has never previously been released.

Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

Jason Mraz - amerikanischer Gitarrist, Sänger und
Songwriter - hat sich mit seinem entspannten,
melodischen Pop, der stilistisch an Folk, Jam-Band-Musik,
Hip-Hop und Softrock angelehnt ist, eine große
Fangemeinde erspielt. Seit der Veröffentlichung seines
2002 erschienenen Debütalbums Waiting for My Rocket to
Come wurde Mraz mit mehreren Grammy Awards
ausgezeichnet und erhielt Platin- und
Multi-Platin-Zertifizierungen in über 20 Ländern, während
er durch Nordamerika, Südamerika, Europa, Asien,
Australien, den Nahen Osten und Teile Afrikas tourte.
Sein WMG-Katalog hat bis heute über 7 Milliarden
Streams und über 12 Millionen Album-Äquivalente
generiert.

Jasons zweites Studioalbum Mr. A-Z, das ursprünglich
2005 veröffentlicht wurde, war ein Grammy®-nominiertes,
U.S. Top Five (Billboard Top 200), RIAA Gold-zertifiziertes
Album, das die Hit-Single "Wordplay" enthielt, den zweiten
Einstieg des Künstlers in die Billboard Hot 100 Chart.

Mr. A-Z wurde noch nie auf Vinyl gepresst und die
Veröffentlichung am 22. Juli fällt mit dem 17-jährigen
Jubiläum des Albums (26. Juli) zusammen. Die Doppel-LP
enthält vier bisher unveröffentlichte Instrumentals von
Songs aus dem Standard-Album.













[m] d1. Life Is Wonderful (Instrumental) [4:20]
[n] d2. Geek in the Pink (Instrumental - Lillywhite Mix) [3:55]
[o] d3. Bella Luna (Instrumental) [5:02]
[p] d4. Song for a Friend (Instrumental) [8:08]

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

MISADVENTURES OF DOOMSCROLLER wurde von Jonathan Wilson (Billy Strings, Father John Misty, Angel Olsen) produziert und stellt eine neue, abenteuerliche Richtung für Dawes dar, die einen ehrgeizigeren und experimentelleren Ansatz bei den Aufnahmen zeigt als je zuvor.

”Wir waren schon immer stolz darauf, Minimalisten zu sein. Mit dieser Platte haben wir uns vorgenommen, MAXIMALISTEN zu sein”, sagt Goldsmith. ”Immer noch ein Quartett. Die Songs sollen sich nicht
hinter irgendwelchen Tricks oder Effekten verstecken. Aber wir lassen die Songs wirklich atmen und sich ausdehnen und leben, wie sie es wollen. Wir haben beschlossen, keine Rücksicht mehr auf kurze Aufmerksamkeitsspannen zu nehmen. Unsere Ambitionen gehen dabei über das Musikalische hinaus. ”Wir wollten auch die traditionelle Länge einer Schallplatte - 40-45 Minuten - respektieren, aber keine Rücksicht auf die Anzahl der Tracks nehmen. So wie es Miles oder Herbie oft getan haben. Die Songs zu dokumentieren ist nur die eine Hälfte des Bildes. Für diese Platte sind sie auch die Plattform, von der aus wir abspringen und uns darin verlieren können. Ich glaube, ich kann es am besten so ausdrücken: Wir wollten, dass diese Platte weniger eine Sammlung von Songs als vielmehr eine Sammlung von Musik ist.”

Mr. K transports us to the golden era of the Loft with two disparate, but equally heavyweight classics from the Mancuso oeuvre mastered and cut loud, deep, and clear for club play.

First up is an edit of a track that embodies the spirit of early ’80s downtown New York City. Released in 1982, “Konk Party” was the band’s calling card and first hit, and represented their multicultural, no wave, hip-hop/disco hybrid perfectly, the opening sax riff itself a sly nod to Wild Sugar’s breakbeat classic “Bring It Here” that the Beastie Boys would later sample. A Loft staple — the video was even filmed there — “Konk Party” was also played widely across the influential clubs of the day, becoming an instant staple at Danceteria, Mudd Club, and other hot spots. The easy-going groove, heavy on the percussion and low-slung bass, complimented by bilingual lyrics from Angel Quiñones, has dated well, and sounds especially ready for action in this new edit from Mr. K, largely inspired by the original 12-inch’s choice Uptown Breakdown Mix. This is the first time “Konk Party” has been available on 7-inch.

The heavy percussion backing is perhaps the only similar element that links our A-side to its flip, but that only goes to show the breadth of styles that coexisted in the audio landscape of the Loft. “Hold On To Your Mind,” first released in 1970 by Northern Irish rock group Andwella, is a heavy, psychedelic tour de force that more than lives up to its cautionary, heady title. Mr. K has outdone himself with his new mix, a supercharged blend of extended percussion breaks — absent on previous 7-inch mixes — driving vocals, and fuzz guitar. For those who have never been able to track down the original single, an expensive proposition, and even for those who have, this new edit is certainly the definitive version.