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Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EP enthält dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit) und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen "When You Were Mine" von Prince. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Bright & Findlay - James Alexander Bright und Tom Findlay (Groove Armada) - eint ihre gemeinsame Liebe zu Machine-Funk, Outsider-Soul, 70'/80'er Nautica und Basement-Disco des 21. Jahrhunderts. Auf ihrem Debütalbum 'Everything Is Slow' auf Athens Of The North präsentieren sie eine atemberaubende Bewegung und Atmosphäre, vollgepackt mit Sunshine Boogie, Cosmic Disco, einer Prise balearischem Funk und Inspirationen und Widmungen von Dâm Funk bis Metro Area.

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EP enthält dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit) und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen "When You Were Mine" von Prince. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Jamaican-born trumpeter Dizzy Reece was a fixture of the London jazz scene before moving to New York City in 1959 where he recorded his excellent album Star Bright, a hidden gem in the Blue Note catalog featuring a first-rate hard bop quintet with Hank Mobley on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass & Art Taylor on drums.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
 ‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

Women with guitars are the holy grail of rock music! There is barely anything cooler than female guitarists like Joan Jett and Nancy Wilson, for instance. Half French – half English, 100% Rock’n’Roll - Laura Cox is pursuing the path of heavy riffs, powerful soli and catchy choruses. A new global rock star is on the rise!“ Laura Cox returns with her second album “Burning Bright”. Recorded at the legendary ICP Studios (Johnny Hallyday, Francoise Hardy, Vanessa Paradis, Talk Talk,...), backed up by an impeccable band, mastered by the great Howie Weinberg (Aerosmith, Oasis, The White Stripes), Burning Bright offers 10 rock bombs, tinted, depending on the songs, Blues, Classic Rock or even Hard Rock. Following the album’s impressive initial success, Burning Bright is finally coming to record players around the world as a 180g 1LP Edition on finest black vinyl.