Bubblegum XX features features members of Queens of the Stone Age, PJ Harvey, Greg Dulli, Izzy and Duff from Guns & Roses/Velvet Revolver, among other assorted rock luminaries. When Bubblegum was released, Mark chose to let it speak for itself and didn"t have much to say aside from within the small handful of interviews he did at the time. In 2017, he released a book of lyrics and writings called I Am The Wolf and wrote about the album then. Shared here are some of his words about the record. Song favorites include "When Your Number Isn"t Up," and "Strange Religion," a love song I wrote in a Tokyo hotel room. While many of the songs came from a place of dejection and ennui at the end of a tempestuous relationship, "Bombed" in particular came about when, after I had written and recorded it in just a few minutes, I put a microphone in front of Wendy Rae Fowler, my soon-to-be-ex-wife, and had her sing along while simultaneously hearing it for the first time. I loved the result as it reminded me of Royal Trux, a band I liked. When I insisted on using the first and only take of the song, it made her slightly unhappy, but to be fair, that was just one of many things I did that had that effect.
Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.
With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.
Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.
"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.
Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.
With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.
Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.
"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.
Ungod is the debut album by industrial rock band Stabbing Westward, released in 1994. The album blends aggressive guitar riffs with dark, brooding electronic elements, capturing the angst and intensity of the early 90s alternative scene. Produced by John Fryer, known for his work with Nine Inch Nails and Depeche Mode, Ungod features standout tracks like ""Violent Mood Swings"" and ""Nothing,"" showcasing Christopher Hall's raw, emotive vocals and the band's gritty, atmospheric sound. Although it didn't achieve mainstream success, Ungod gained a cult following, establishing Stabbing Westward as a significant force in the industrial rock genre. The album's dark, introspective themes and innovative production remain influential in the industrial rock landscape. Ungod is being reissued for the first time since its original release and is available as a 30th anniversary edition of 1000 individually numbered copies on translucent red & black marbled vinyl. The vinyl package includes an insert.
The new album is ready and it’s the best! Cornell says “This is more than an album to me…. It is an up close and personal expression of the many things that move me in life and how I feel about life, love and all the things I value most. The love that went into making this album is without question a collaboration of great musicians and producers who put their Souls into it. No matter what your mood is, there is a song on this album that will relate to all of the different emotions we experience Every Day!”
The first single from this album was “The Change”, released earlier in the year ahead of the massive new song “Everyday”. The album is coming 26th July on CD and will be followed up with a vinyl release (of selected tracks) 23rd August.
Cornell is from Berkeley, California and raised in San Francisco where his debut album “Vindicated Soul” was released in 2017. Since then he has taken the soul scene by storm through further prolific albums “One Love”, “Absolutely” and “Next Life”. Earlier in his career he recorded with The Isley Brothers and performed on stage with James Brown. Cornell performs songs from the album for the first time at The Sussex Soul Weekender Friday 2nd August.
The 8-LP box set Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 features of live performances by Miles’ stellar band lineups from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in New-
port, Rhode Island, New York City, Berlin, and Switzerland. From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan), to his final public performance of the ‘70s in 1975, the box set traces the ascen- dance of Miles’ music as the jazz superstar he has become known to be.
The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in ‘66 and ‘67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.
Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 is available as a deluxe 8LP box set, housed in a lift-off box. The set includes print- ed innersleeves, a mini poster of Miles, and a 12-page booklet with extensive liner notes and rare photos.
Man könnte meinen, das musikalische Erbe der 1960er-Jahre sei bis zur Erschöpfung gefeiert worden (und da hätte man recht), und dennoch, und was noch erstaunlicher ist, werden die Pretty Things unter all den großen bahnbrechenden britischen Bands dieser Zeit immer noch routinemäßig unterschätzt und unterschätzt oft übersehen.Mit ihrer einzigartig rauhen Interpretation des R&B-Repertoires legten die Pretties die Vorlage für einen Sound, der später als ,English Freakbeat" bezeichnet wurde, und gingen in einer Ära der beispiellosen Pop-R/Evolution hin zu Psychedelia und darüber hinaus immer an die sprichwörtlichen Grenzen, indem sie wohl die ersten schrieben und aufnahmen und möglicherweise die beste Rockoper in ihrem Meisterwerk S.F. Sorrow (and what about Parachutes then?).In diesem Jahr jährt sich ihr Debüt ,Rosalyn" zum 60. Mal, was ein guter Vorwand zu sein scheint, ihr Vermächtnis mit einer Tribute-EP zu feiern. Doch anstatt die Klassiker abzudecken, haben sich die vier hier versammelten Psych-Pop- und Mod-nahen Künstler, Bandkollegen und Gare du Nord-Mitarbeiter dafür entschieden, in die weniger bekannten Tiefen des Pretty Things-Katalogs einzutauchen:Der Produzent und Multiinstrumentalist Andy Lewis spielt ,Walking Down The Street" aus den Electric Banana-Sessions von 1967. Der Pariser Popmeister Popincourt übernimmt ,You Don't Believe Me" aus dem Pretties-Album "Get the Picture" aus dem Jahr 1965. Dann ist da noch Ian Buttons ,Papernut Cambridge", der sich der seltsamen Stop-and-Go-Seltsamkeit des Kult-Pop-Juwels ,Defecting Grey" stellt, während Canterburys eigener kontinentaler Pop-Korrespondent Robert Rotifer ,House of Ten"von der häufig vergessenen, aber allgemein glorreichen Kammerpop-LP "Emotions" von 1967 einen Besuch abstattet.,Das ist ein großes Kompliment an die Band", schrieb Dick Taylor, Gitarrist der Pretties, als er um Zustimmung zur Veröffentlichung gebeten wurde, was alle seine Fans bei Gare du Nord Records sehr glücklich machte.,House of Four" (VÖ: 23.08.24/Gare du Nord) wird in einer limitierten Auflage von 300 Exemplaren als 10" EP mit 45 U/min (und digital) erscheinen, mit einer zusätzlichen Postkarte mit dem von Robert Rotifer liebevoll gezeichneten Puppenhaus-Covermotiv. Es ist ein anglo-französisch-österreichisches Cross-Continental kulturelles Unterfangen zu Ehren einer großartigen britischen Band, die sechs Jahrzehnte später immer noch kein bekannter Name ist (außer in den besten Haushalten), es aber immer verdient hat.Schade nur, dass Phil May nicht mehr da ist, um es zu hören ...
Serge Geyzel marks the 3rd release on the Barcelona-based label Adepta Editions with ''It's Cancelled'', a strong and comprehensive collection of six tracks with mind-blowing tectonic tempos, low-flying bass-beats, and magnetized electro-nics. Comes with printed sleeve and is a strictly limited pressing of 200 copies!
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Today – Friday 9th July – artist, producer, DJ and club culture icon Peggy Gou releases the second of a pair of summer singles. Released via Gou’s own Gudu Records, “I Go” is an incredible piece of club-focused electronic music and showcases a very different sound to previous single “Nabi”.
Described by The FADER as “the kind of dazzlement you get from light dancing off of ocean water on a hot day: pure dopamine activating bliss” and Resident Advisor as “a refreshingly low-key jam”, “Nabi” was an evocative piece of slow-burning, 98bpm electronic pop, inspired by 80s synth classics, the piano pieces of renowned composer Erik Satie and the 80s and 90s Korean songs Gou's mother used to play at home during her childhood.
“I Go” takes inspiration from a similar era but this time the energy comes from Gou’s love of 90’s dance anthems, many of which she revisited during lockdown and an enforced break from touring. Both retain the hallmarks of Peggy Gou’s unique take on electronic music; at once both nostalgic and totally modern. But on “I Go”, the tempo, 808s and 909s are dialled right up for a self-motivating anthem that is set to soundtrack a summer when we can all hopefully dance together in our thousands again.
Talking about “I Go”, Peggy says:
“When I was a teenager in Korea, we didn’t have rave culture like there was in the UK. “I Go” is a tribute to that era, my own reimagination of the sounds I grew up loving. The lyrics are inspired by a note I wrote on my phone in 2019, staring at myself in the mirror of an airport toilet – I looked so exhausted but there was no way I wasn’t going to keep going! “I Go” is basically me motivating myself, finding courage and returning to a feeling of innocence. I hope people feel the same sense of positivity when they hear it”
Meanwhile, Peggy Gou is set to make a handful of DJ appearances in Europe over the summer. These include a huge sold out London event in August in the form of The Pleasure Gardens; an outdoor party in Finsbury Park created and curated by Gou herself and featuring a stellar supporting line up including DJ Harvey, Anz and Spencer.
Track List:
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Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.
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From the furnaces of Stoke-On-Trent comes the super-limited debut EP from Formal Sppeedwear, a wonky new wave teacup ready to be sipped.
Taking creative cues from Brian Eno’s Oblique Strategies and Conny Plank’s experimental recording techniques to flesh out synthpop-oriented melodies, the EP stomps along with Scary Monsters-era Bowie guitar lines, early 80s Numan basslines and surreal lyrics - “Ready, set on my mark: Tesco Extra, Marks and Sparks” cries Clewlow on 6 Lofty Ash. There’s a versatility to the tracks; with the jolting staccato of The Line counter punched by EP closer and highlight Dismount’s soaring synth slow burn.
Defying the seas of young musicians moving to London and Manchester to find their path, Beck Clewlow (Bass, Vocals, Synthesisers) Charlie Ball (Guitar, synthesisers), and Connor Wells (Drums, Guitar, Synthesisers) stuck it out in Stoke, using the city as a blank canvas - devoting their spare time to writing and experimenting, building their own studio out of charity shop finds and cash-converter synths and recording equipment.
Out in the creative wilderness of Staffordshire there’s a healthy DIY scene brewing with bands waiting to make their mark; fly posting their own shows, making one-off merch for each gig, sharing lineups with one another. “There is no sense of geographical confinement here, there’s a wealth of talent who act indifferently to their surroundings. It’s particularly nice that some of our friends from here are starting to receive attention from elsewhere” say the band. As fellow locals University and Christian Music start to garner attention from the rest of the UK, it’s time for Formal Sppeedwear to follow suit.
Stoke-on-Trent might not be the first place you’d look to find your favourite new band - The Bootleg Beatles are one of its finest exports if you ask Google - but Formal Sppeedwear are here to show you the kilns are alright.
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Darren Hayman New Starts are a spikey, fresh sounding band recalling the poppier ends of new wave and angular guitar rock. Their influences include The Cars, Breeders, Bay City Rollers, The Velvet Underground and ZZ Top. Lead singer Darren Hayman has his own long career running from the late 90s with John Peel faves Hefner to his more recent thematic and historical albums dealing with the English Civil War, William Morris and forgotten rural idylls. “I wanted a band again,” says Hayman, “and not a band that just backed me up and played my old songs. When we form our first bands in our teens we just find some friends and work through the musical differences. I usually look for players who play in a way I’m used to. This time I looked for variance and was led by people’s personality.” Guitarist Joely Smith of South London’s noise-pop adults and recently DIY-punks Fresh was recommended by a mutual friend who said, ‘She makes everything better’. Hayman and Smith shared a coffee and agreed on the correct number of guitar pedals and decided to proceed without an audition. “There is a tendency for me to make my chords too pretty. Joely cuts against that and plays in the opposite direction.” Hayman is a fan of rules and constraints and employed a new, oblique strategy on this record. “Even though I wrote all the songs, I wanted the songs to belong to everyone during arrangement. I decided that I would say ‘yes’ to every suggestion from the band, regardless of my instinct.” This made the songs warp and bend into new shapes and ensured that the record was the product of four individuals. Bassist Giles Barrett and drummer Will Connor come from funky afro beat influenced band Tigercats. “Pretty much the only rhythm I use, left to my own devices, is the ‘road runner’ rhythm. Will takes to care to find where the drum beat can be and we always end up somewhere I didn’t expect.” More Break Up Songs is a collection of 12 Break Up songs because Darren broke up with someone. Again. “I suck’, he says, “But it’s never anyone’s fault. It makes me very sad but I do have to work through these things in song and there’s always something to learn. I try to make songs about breakups that could be understood by both parties. I’m not interested in nasty songs.” Opening song ‘Little Stone in my Heart’ blisters along with Joely’s wildest guitars. The protagonist will do anything to make things right, but nothing ever is. ‘Under the Striplights’ has driving, choppy, incessant riffs, and is about the need to be anywhere but somewhere other than here. We could be under the moon or under the strip lights as long as we have each other. Another barely kept rule that Darren instigated on this album was that each song would be a tonal equivalent to one from The Velvet Underground’s third album. To that end ‘Don’t Need Persuading’ is this record’s ‘Pale Blue Eyes’ with the narrator being unable to break free of a vortex, knowing they will stay the night against all better judgment. ‘I’ve had a long standing distrust of the guitar,’ says Darren, ‘despite it being my primary instrument for twenty years. I thought it was time I made a record with two guitars and drums and bass. I wanted it to be bright, immediate and young sounding, despite the fact I’m old. We recorded it in four days and I think this might be the record a lot of my audience has wanted me to make for a long time.’ “bold and unique" The Sunday Times. // “Hayman has hit a creative purple patch… a treat” Mojo // “uniquely intimate and very satisfying”
Valuable reissue of slow Italo classic! Roberto Onofri, since he was a teenager, has developed his own culture independently. Whatever he liked to do, he immediately embodied it, instantly identifying with what he was passionate about. However, one certainly cannot expect the sixteen-year-old and self-taught disc jockey to be ready as a composer for his first time in a recording studio. He became an author, arranger and performer shortly after, but for his first experience on vinyl he had to resort to a cover, as many did to get noticed and have the limelight on him. There was no mistake in choosing 'Living with Passion'' by the Canadian band Moral Support, but only how to write the title of the piece on the album cover!!! At the time, not all Italian printers knew English well, which is why Italo Disco soon became sadly famous for the huge blunders that were written. It was love at first sight for Roberto, who played the song written and produced by Richard Cranford and Sandro Durante every night in the disco. There were some imperfections due to inexperience, but the electronics, more and more imperious and overwhelming, won over everything, effectively decreeing the beginning of a new musical style. The Italian one. Dave Mathmos did well to have the same passion as Onofri and his DJ Program Band, developing an excellent version that gave new life to the piece from 40 years ago, reprinted by Best Record in two different and limited editions, in black vinyl and in green vinyl with black shades. Both editions come out with the artwork and credits in relief and with the image of the very young DJ Onofri immortalized next to a drum kit with the microphone in his hand, ready as always to make people jump and have fun.
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Valuable reissue of slow Italo classic! Roberto Onofri, since he was a teenager, has developed his own culture independently. Whatever he liked to do, he immediately embodied it, instantly identifying with what he was passionate about. However, one certainly cannot expect the sixteen-year-old and self-taught disc jockey to be ready as a composer for his first time in a recording studio. He became an author, arranger and performer shortly after, but for his first experience on vinyl he had to resort to a cover, as many did to get noticed and have the limelight on him. There was no mistake in choosing 'Living with Passion'' by the Canadian band Moral Support, but only how to write the title of the piece on the album cover!!! At the time, not all Italian printers knew English well, which is why Italo Disco soon became sadly famous for the huge blunders that were written. It was love at first sight for Roberto, who played the song written and produced by Richard Cranford and Sandro Durante every night in the disco. There were some imperfections due to inexperience, but the electronics, more and more imperious and overwhelming, won over everything, effectively decreeing the beginning of a new musical style. The Italian one. Dave Mathmos did well to have the same passion as Onofri and his DJ Program Band, developing an excellent version that gave new life to the piece from 40 years ago, reprinted by Best Record in two different and limited editions, in black vinyl and in green vinyl with black shades. Both editions come out with the artwork and credits in relief and with the image of the very young DJ Onofri immortalized next to a drum kit with the microphone in his hand, ready as always to make people jump and have fun.
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This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.
Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.
With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.
This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.
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EN: Possibilities offered by the modular construction of the individual boxes are so varied that they can be combined vertically or horizontally. Supplied connection strips stabilise the shelf construction and create the impression of a homogeneous unit.
In addition, the box is ideal for storing the "Disco-Antistat Generation I & II", and also the dry rack can be perfectly accommodated in the Archifix box.
DE: Durch die Systembauweise können die einzelnen Boxen variabel nebeneinander- und/oder übereinandergestellt werden.
Die mitgelieferten Verbindungsleisten geben dem Regalaufbau besonderen Halt und vermitteln den Eindruck eines geschlossenen Ganzen.
Außerdem ist die Box ideal zur Aufbewahrung der "Disco-Antistat Generation I & II" geeignet, sowie auch der Trockenständer perfekt abschließend in der Box verstaut werden kann.
Gefertigt wird die Archifix-Box aus ABS-Kunststoff, welcher sich unter anderem durch Schlag- und Kratzfestigkeit auszeichnet, Temperaturschwankungen standhält und antistatisch wirkt.
On 'Be Am' (now available only vinyl), Norwegian pianist, composer and
producer Bugge Wesseltoft has allowed his creative impulses to wander
where they may - no pre-set rules to govern the composition and
production, no obligations to (not) use electronics, not even a will to be
totally alone: this is pure playing and composition, where the music
speaks freely by whatever means it will
In the 25 years since Wesseltoft founded Jazzland Recordings, he has engaged in
numerous group projects and collaborations such as New Conception of Jazz,
duos with the likes of Sidsel Endresen, Henning Kraggerud and Henrik Schwarz,
one- off projects such as Trialogue, Bugge and Friends, and OKWorld! And of
course, the super- trio Rymden. However, it is in his solo material that we can
glimpse the true soul behind the effervescent and mercurial mind of one of the
most influential and important Norwegian musicians of an entire generation.
Many of the pieces here have the feeling of being wordless songs - indeed, no
words are needed when the notes convey all that is needed on tracks like "Tide"
or "State". The arrival of Håkon Kornstad on the track pairing of "Emergence" and
"Roads" shifts the mood from one of peace within solitude to peace within
company, the latter track being an understated dialogue, a musical soundtrack for
watching the world hustling and bustling, or sleeping its way towards a new day.
Tracks such as "Messenger", "Green" and "Be Am" throw more angular shapes,
musical shadow-play where unexpected progressions shift to moments of gospel
uplift before taking unanticipated shifts towards unexpected harmony. With "Life",
kalimba accompanied by birdsong loops, carrying us into a piece that takes
tentative but exact steps between positions, like tai chi in musical form.
"Sunbeams through leaves softly rustling" closes the album with that beautiful
Satie-like melodic simplicity that Bugge has made his own.
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Renowned New Zealand musician Nathan Haines announces his eleventh studio album and first solo album since 2014. Nathan’s vibrant career has solidified his status as a leading figure in contemporary jazz and electronic music, and throughout his career he has distinguished himself as a masterful saxophonist, flautist, and composer, celebrated for his innovative fusion of jazz with elements of soul, funk, and dance music. Notes maintains the jazz sound he is famed for, whilst also seeing the artist embrace the electronic/house and disco scene.
A labour of love, work on the album started several years ago alongside the now deceased UK producer Phil Asher who had produced Nathan’s two most successful albums Sound Travels and Squire For Hire. Regarded as one of the finest DJ’s and producers to emerge from the UK, playing a pivotal role in bridging the gap between 4/4 and broken beat, this was the first time Nathan and Phil had worked together in over eighteen years. Phil passed away during the recording of the album, but he appears on a number of tracks, and his spirit and influence can be felt throughout the entire release.
The album features a number of guest vocalists, including UK soul-diva Vanessa Freeman (Bugz In The Attic, 4 Hero, Kaidi Tatham, Kyoto Jazz Massive), and exciting young talent Ajuna Oakes, Ruby Cesan, La Coco and EO (NZ). Alongside Nathan’s own musicianship, the album also features bass from Razor-N-Tape label founder Jkriv and electronic jazz pioneer Mark de Clive-Lowe, with both bringing a wealth of collaboration and musicality to the project. Long time collaborator and much respected UK based producer Marc Mac (one half the highly influential and respected duo 4Hero) provides beats for a number alongside Nathan’s father Kevin on acoustic bass.
Highly respected DJ and producer Frank Booker (Razor and Tape) drops his signature beats on three tracks which fits nicely alongside Asher’s drum work. The album’s one cover see’s Nathan teaming up with vocalist Rachel Clarke on their version of Storm by US 80’s vocal group Rare Silk - this track is entirely acoustic and is one of the album’s special moments both artistically and musically.
The past years have seen Haines continuing to establish himself as one of NZ's best DJs and live performers, working on releases and remixes with the likes of Chaos in the CBD, Frank Booker, JKriv, Ray Mang and many others. He has also just released a solo album on Goldie's Metalheadz label under his Sci-clone alias co-produced with DJ A-Sides to excellent reviews and featuring a wealth of talent and musicianship.
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Lee Morgan - The Gigolo
Nachdem Lee Morgan 1964 mit “The Sidewinder” und dem als Single ausgekoppelten Titelsong neue
Verkaufsrekorde bei Blue Note aufgestellt hatte, setzte der Trompeter seine musikalische Erfolgssträhne
mit Alben wie “The Gigolo” fort. Zu den Höhepunkten dieser 1965 eingespielten (aber erst 1968 veröffentlichten) schwungvollen Hardbop-Sammlung gehören der groovige Opener “Yes I Can, No You Can’t”
und die swingende Up-Tempo-Nummer “Speedball”.
Songs ’94-’98 is a smart selection of material from The Cat’s Miaow, an Australian indie-pop group that gifted their decade with some of its finest songs. Released on World Of Echo, the album draws from the group’s string of excellent seven-inch singles, a small clutch of compilation contributions, and features one previously unreleased song, “I Take It That We’re Through”, recorded in 1998. Part of the burgeoning international pop underground of the nineties, The Cat’s Miaow’s legend has only built over subsequent decades, as more people discover this most quixotic and curious of groups: a recent appearance on A Colourful Storm’s compilation of Australian indie-pop, I Won’t Have To Think About You, is testament to their enduring influence. In part emulating the selection of tracks on the 1997 CD-only compilation, Songs For Girls To Sing, Songs ’94-’98 is also the group’s first ever full-length 12” vinyl collection. The Cat’s Miaow started out in 1992 as a home-recording duo, Bart Cummings (guitar, bass, vocals) and Andrew Withycombe (bass, guitar) taking time out from duties with Girl Of The World and The Ampersands (respectively), knocking out songs on Withycombe’s four-track. Soon joined by Kerrie Bolton (vocals) and Cam Smith (drums), the quartet spent the next five years quietly, slowly working away in the suburbs of Melbourne, recording gem after gem of independent pop. Like many of their Australian precursors or peers – The Particles, Even As We Speak, The Cannanes – The Cat’s Miaow were more successful overseas, a sadly typical phenomenon within the Australian musical landscape. The Cat’s Miaow were always worldly and stylish, anyway, each seven-inch single a refined artifact, each song a peaceable jewel. You could hear some relationships with other music – someone (if not everyone) in The Cat’s Miaow was a Galaxie 500 fan; there’s a minimalism to the playing and melodies that recalls Young Marble Giants, Marine Girls, Beat Happening – but the spirit in these songs is endearingly individualised, the result of a hermetic vision, an ideal of what a simple, unadorned pop song could be. They had a winning way with simplicity, songs like “Autumn”, “Crying” and “I Can’t Sleep Thinking You Hate Me” passing by in the blink of a moistened eye, and when they stretched out, as on “Firefly”, you can hear hints of the drifting ambience they’d perfect in their other band, Hydroplane. It’s not much of a surprise that The Cat’s Miaow found a receptive audience, and no small amount of support, from the networked communities of indie-pop labels and fanatics that developed in the nineties – they released records on imprints like Drive-In, Darla, Bus Stop and Quiddity, shared a flexi-disc with Stereolab, and appeared on countless compilations over the years. But they also understood the importance of the local: their first few cassettes reached the world’s mail routes via Wayne Davidson’s legendary Melbourne tape label, Toytown; they turned up on a split single with Davidson’s group, Stinky Fire Engine; they appeared on a tribute cassette for one of Australia’s finest, The Sugargliders, and indeed that’s Josh Meadows of said group playing wah guitar on “Stay”. The Cat’s Miaow also rarely played live – one launch gig, for the Munch video compilation, and a few parties – which is a great way to maintain mystique. Cosmopolitan yet homely, dedicated to their craft, The Cat’s Miaow always felt a little like a group moving in slow motion, using that pace and focus fully to embrace the art of the perfectly stated pop song – every element in place, no flash and no fuss, no excess, just the core of the thing. Few managed to tease such fierce poetry from such understated, elegant means. From Australia or anywhere.
Luminice Blue Transparent Vinyl. Can you hear the war drums beating? Prepare for battle! Lost In Cult Records, Black Screen Records, Gaziter and Deadpan Games are proud to present Wildfrost: the Original Game Soundtrack. For the first time on vinyl, enjoy the complete and unabridged orchestral score from composer Paul Zimmermann. Rich with folk roots and powerful crescendos, it's the perfect soundscape for your journey through the cold. No Pengoons were harmed in the making of this vinyl. Composer Paul Zimmermann on working on this soundtrack and vinyl: "Writing the music for Wildfrost was a blast. I loved mixing a ton of different instruments from all around the world to bring to life the colourful and unique setting of the game. The gameplay can get very challenging, so I wanted to make sure the music felt playful and uplifting, while also providing those big and heroic moments for our boss fights. I'm super pleased to partner with Lost in Cult and Black Screen Records to bring this soundtrack to vinyl. Seeing the positive response from players has been amazing and I hope this vinyl, with its unique artwork by Nuri Durr and the additional extras, provides fans of the game and its music another great way to connect with the world of the eternal winter!"
Following a stunning introduction to the world with her 'Sometimes I Forget You're Human Too' EP release in early 2021, Bored At My Grandmas House (AKA Amber Strawbridge) is back with the compelling new single Detox.
It's a tale of navigating change with Amber explaining it’s about “feeling alienated, not knowing who you can and can’t trust, and figuring out how to be yourself whilst also discovering who you are”. “The lyrics represent exactly how I felt in that current moment, numb, confused to who I was and overwhelmed by all the changes I was starting to encounter”.
While Detox retains a lot of the indie and shoegaze elements prevalent in Amber's debut EP, it also shows growth and maturity in sound, with more contemplative lyrics asking questions of the listener. It's a stunning synth-laden track which broods and swells.
Lyrically, there is a deep introspection and a philosophical desire to question and understand human nature, culminating in the "I think we need to Detox" hook.
The track will be released on a limited edition 7" vinyl via Clue Records with a bottle green vinyl available from the artist and label and a toxic yellow version available at all good indie record shops. Following the first 2 pressings of Amber's debut EP selling out ahead of release date, these will be highly sought after.
The track was recorded by Amber at home in Cumbria before being sent to Alex Greaves (bdrmm, Working Mens Club) to add some elements and mix the track. Amber and Alex worked closely together on the final revisions.
The origins of 21 year-old Amber Strawbridge's bedroom shoegaze project Bored at My Grandma's House are perhaps unsurprising given the name. Facing an extended stay with relatives after a trip to Cambodia, Amber used the spare time to start making beats on her phone with Garageband. Fast forward to 2022, the home set up's more than evolved, she's released her debut EP 'Sometimes I Forget You're Human Too' to critical acclaim ,and now steps back into the light with new single Detox.
The funkiest release on the HDH label and last album from Detroit soul group Chairmen of the Board saw a concerted movement away from harmony soul towards the psychedelic funk-rock sound of Funkadelica.
This record features backing from Parliament-Funkadelic musicians Eddie Hazel (guitar) Bernie Worrell (keyboards and organ), Billy “bass” Nelson (bass) and Tiki Fullwood (drums) who all give the music an enthusiastic funk injection. Reissued on 140g black vinyl with newly mastered audio from Phil Kinrade at AIR Studios, an obi strip and a printed inner featuring a liner note from “Soul Trilogy” author Stuart Cosgrove, enjoy this limited edition 50th anniversary release of Skin I’m In – brought to you with SOUL by Demon Music Group. Get on down with the get down…
Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."
Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."
Coke Bottle Green vinyl. Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks. Deal suggests that the overarching theme of the album is "an introduction to the band itself". Created with a DIY disposition and the "love of a scene that saves lives", they reel off a roll call of marginalised groups and protected characteristics: "Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond_". This is central to their identity and focus, saying that "with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn't seem necessary, but paramount to the overall tone of the band." This self-titled debut, coming in at a lithe 22 minutes with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Blistering opener 'Tired' sets out their stall; as with the whole album, it is passionate, but never preaching. Capitalised 'Political Music' can be hard to land without coming across as hectoring or earnest, but Deal's literary, humorous lyrics effortlessly cut through complex issues of marginalisation and colonialism.
Doppel-LP auf rotem Vinyl, limitiert auf 2000 Stück. Das lange vergriffene Debütalbum der beliebten Indie-Rock-Band Velocity Girl aus dem Jahr 1993 ist wieder erhältlich, mit einem neuen, von der Band genehmigten Mix und einem kompletten Album mit Bonustracks, das Singles, Outtakes und die Peel Session der Band von 1993 enthält. Velocity Girl gründeten sich etwa 1989 an der Universität von Maryland außerhalb von Washington DC und setzten sich kurz darauf aus Gitarrist Archie Moore (Black Tambourine), Gitarrist Brian Nelson (Black Tambourine), Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), Bassist Kelly Riles (Starry Eyes) und Sängerin Sarah Shannon (Starry Eyes, The Not Its) zusammen. Die Band kombinierte englisch inspirierten lärmenden Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem 60er-Jahre-Pop-Songwriting. Eine Killer-Single auf Slumberland und pausenloses Touren erregten die Aufmerksamkeit der damaligen Indie-Rock-Kenner, und nach einem hitzigen Werben, das sowohl Abendessen als auch Nachtisch beinhaltete, unterzeichneten Velocity Girl in Hoboken, New Jersey einen Vertrag auf einer Motorhaube, und machten Sub Pop zu ihrer Heimat. 1992 begann die Band mit der Arbeit an ihrem Debütalbum "Copacetic" in den Easley Studios in Memphis - einst Heimat der Bar-Kays und anderer klassischer Soul-Bands - unter der Leitung von Bob Weston (Volcano Suns, Shellac), und mischte das Album anschließend mit Weston in Chicago. Obwohl das Album starke Songs enthielt - Popsongs wie "Audrey's Eyes", "Pop Loser" und "Living Well" neben ehrgeizigen Erkundungen wie "Pretty Sister" und "Here Comes" - hatte die Band wenig Erfahrung mit der Produktion und es fehlte ihr an den Fähigkeiten, im Studio "das Boot zu steuern". Infolgedessen war das Album eine eher schlichte Angelegenheit, der es an der Üppigkeit der früheren Aufnahmen mangelte. In den Ohren der Band war das ein Schock, und sie merkten bald, dass dies nicht die Platte war, die sie zu machen hofften. Bob Weston hatte genau das getan, was von ihm verlangt wurde, und die Klänge eingefangen, aber die Band hatte nicht ihren Teil dazu beigetragen, eine klare Vision zu formulieren. Aber die Zeit der Band im Studio war vorbei, und Polvo war gerade aufgetaucht, um an ihrem Album zu arbeiten, also machten sich Velocity Girl auf, um das Video zu Audrey's Eyes" zu drehen. "Copacetic" kam 1993 auf den Markt und die Leute schienen es zu mögen, aber innerhalb der Band gab es ein Gefühl der Enttäuschung bis zu dem Punkt, an dem die meisten Mitglieder es nicht mehr ertragen konnten, die Platte zu hören. Seitdem hat die Band viel über Aufnahmen gelernt, und Archie Moore eine Karriere als Tontechniker eingeschlagen, so dass die Band schließlich beschloss, sich mit "Copacetic" nochmal auseinanderzusetzen. Nach umfangreichen Ausgrabungen tauchten die 2"-Bandspulen im Haus der Mutter von Jims Ex-Frau auf, und im Frühjahr 2023 begann Archie mit der Arbeit an einem Remix. Song für Song entstanden die neuen Abmischungen genau so, wie die Band sie sich vorgestellt hatte. Der erhabene Gesang von Sarah (die am College Oper studiert hat), die klingende Leadgitarre, die saftigen, verwaschenen Rhythmusgitarren und das klare, stampfende Schlagzeug. Die Popsongs sind viel poppiger. Der Klang ist kraftvoller, und die Platte ist ein zusammenhängendes Werk, das von Song zu Song fließt. Der Ansatz war nicht, ein Album zu machen, das nach 2024 klingt, sondern sich auf das Jahr 1992 zurückzubesinnen und das Album zu machen, das die Band damals hätte machen sollen. Das Ergebnis, "UltraCopacetic (Copacetic Remixed and Expanded)", ist eine spannende alternative Geschichte von "Copacetic". Und während sie dabei waren, hat die Band den Rest ihres Studiomaterials aus dieser Zeit ausgegraben und aufgefrischt: "Ultracopacetic" enthält "Warm/Crawl" von der Velocity Girl/Tsunami Split 7", ,Creepy' von der Crazy Town 7", "Stupid Thing" von der Audrey's Eyes 7" und die unveröffentlichte Albumauskopplung ,Even Die'. Abgerundet wird das Ganze durch die komplette John-Peel-Session der Band aus dem Jahr 1993 mit fünf Liedern, darunter zwei Tracks, die seit der ursprünglichen Sendung nicht mehr zu hören waren. "UltraCopacetic" ist wirklich die definitive Version von Velocity Girls erstem Album.
This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer
It's been quite a journey since the release of the album "Now!". Over the years, Roulette shared several singles digitally, each one a piece of our evolving musical story.
Now, as anticipation builds for our upcoming summer single "Love's The Drug", we believe it's the perfect moment to gather all our recent hits into one special collection.
Introducing the brand-new EP, "From Now Until Today". This EP brings together all the singles released since "Now!", capturing the essence of Roulettes latest musical explorations. And because fans deserve something truly unique, we've included a bonus track that you won't find anywhere else-exclusively available on this EP.
Available in both CD and vinyl formats, "From Now Until Today" is more than just a collection; it's a reflection of the journey and a gift to our incredible supporters.
Thank you for being a part of our story. We can't wait for you to hear it.
Lavender Eco-Mix Vinyl. It took more than two years for all of the pieces to come together for Remember Sports' third album. In the time that has elapsed, Carmen Perry (vocals, guitar), Jack Washburn (guitar), and Catherine Dwyer (bass) have relocated from the tiny Midwestern college town of Gambier, OH, to Philadelphia, PA, adding new drummer Connor Perry and retiring their original nom de plume, SPORTS, along the way. Slow Buzz centers around a break up and comes at a crossroads for the band. The record is the first official release under Remember Sports, a moniker that functions as both a question and a command, which foreshadows all of the deeply personal emotions Carmen experiences at the painful end of a good relationship. Recorded in Valatie, NY by Evan M. Marré (Russel the Leaf), Slow Buzz focuses intently on all of the nuances of arrangement and production that Remember Sports has fine tuned over five years of playing together and is their most ambitious record to date.
"It’s hard to believe it’s been 15 years, give or take a few, since we tried our hand out at writing, recording, and playing our songs. We had a wild ride and feel privileged, but mostly grateful, to pursue music in the way that we did. A lot of life happened during our tenure as a band and that didn’t stop since our last show or record.
The people and places the band introduced us to continue to serve as the most incredible memories and to add to that, Kingfisher is turning 10 years old. The nostalgia is real. We had been toying around with the idea of reuniting for quite some time, so there seemed no better time to do it than now.
Having Topshelf in our corner as we began preparing to do this was a no brainer. After talking to Kev and the TSR crew of our plans, it was like no time had passed as they’ve always been great friends and a support system to us. Topshelf repressing Kingfisher in its original intended format, as a double LP, feels like a very monumental way to commemorate a record that means so much to us.
We can’t wait to get back out there to commemorate 15 years of Prawn and Kingfisher’s 10th Birthday. We will be having original members (welcome back Vilchez) to help celebrate with a run of shows that we feel very fortunate to do. Cheers to the last 15 years and all of you reading this for being part of our journey. Let’s see what the next 15 hold in store!
