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In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.

With the label MPS, post-war musical history was written in Germany: noble music productions with many international greats come from the Black Forest and are timelessly legendary. In this tradition, HGBSBlue releases selected projects on high-quality vinyl.

The DLW trio has been working together for twelve years now and is now setting the tone in the modern European music scene, as the trio has long since left the boundaries of jazz behind. DLW, that is the sound-painting vibraphonist Christopher Dell, the virtuoso Danish bassist Jonas Westergaard and the German star drummer Christian Lillinger.

Time and again, the three jazz musicians from Berlin play together with artists from classical or avant-garde music. "Supermodern"
is the project that brings the three DLW musicians together with US pianist Bob Degen. This music is also unikal. It is a reverence
to the legendary Modern Jazz Quartet (MJQ), which in the 1950s was the link between chamber jazz and European classical music.
With "Supermodern," this reference to the MJQ is illuminated from the perspective of European avant-garde music, rather than
its African-American roots, which nevertheless resonate respectfully throughout.
DLW has "developed a concept based on repetition and difference. The starting point for a piece is always a single bar, which is
rhythmically interlaced and repeated trance-like until the smallest irregularities occur, which are written down and creatively
processed further. From this "superimposed combinatorics" (Christopher Dell) a perpetuum-mobile-like sound movement
develops, which is further radicalized on record by sound alienations and cut-up techniques." Thus respectfully wrote the Neue
Züricher Zeitung in August 2023.
Word has long since spread outside the German jazz scene that the DLW projects are always musically new. This is also the case
with the double LP "Supermodern 2", with recordings made in 2021 in analog at the MPS studio in the Black Forest. Together
with US pianist Bob Degen, who has been one of the creative voices of the German jazz scene for about 50 years, they play highenergy music, with sparkling virtuosity and close communication. A musical treat, further enriched by the immensely present
analog sound of this recording.

Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The Nephilim was recorded in a former courthouse in the Somerset countryside where defendants who were sentenced to death were hung. "Moonchild" is the band"s best known song due to it reaching #28 in the UK single charts, and LouderSound called it a classic and said that it "perfectly encapsulates this era of the band: it has some nifty guitar work, great bass lines from Tony Pettitt, Nod"s stellar drumming and McCoy"s distinctive vocals." The song is named after a novel by Aleister Crowley, and there are several other nods to Crowley throughout The Nephilim. In a 2013 remembrance of the album, PopMatters said "The band"s sophomore effort, regarded not only as its best work but also as one of the UK goth scene"s masterpieces, is a seamless, hour-long trek into a surreal land populated by chiming guitars, hypnotic bass, found samples, and McCoy"s storytelling."

Leave Me Alone is the debut album of Nick Oliveri's Uncontrollable, a solo project created by Nick Oliveri (Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator) released in 2014 on Schnitzel Records. It was recorded in 2013 at Thunder Underground Studios in Palm Springs, California by Harper Hug & Trevor Whatever. Nick Oliveri performs all of the instruments (vocals, guitar, bass & drums) on the album as well as all of the production & writing of the songs. He also recruited guest performers in such as Blag Dahlia of The Dwarves & Motörhead's Phil Campbell. The album is dedicated to deceased Eyehategod drummer Joey LaCaze. Heavy Psych Sounds is releasing a brand new REPRESS with new coloured vinyl.

Magenta coloured vinyl, limited to 300 copies. Leave Me Alone is the debut album of Nick Oliveri's Uncontrollable, a solo project created by Nick Oliveri (Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator) released in 2014 on Schnitzel Records. It was recorded in 2013 at Thunder Underground Studios in Palm Springs, California by Harper Hug & Trevor Whatever. Nick Oliveri performs all of the instruments (vocals, guitar, bass & drums) on the album as well as all of the production & writing of the songs. He also recruited guest performers in such as Blag Dahlia of The Dwarves & Motörhead's Phil Campbell. The album is dedicated to deceased Eyehategod drummer Joey LaCaze. Heavy Psych Sounds is releasing a brand new REPRESS with new coloured vinyl.

Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by original members guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing and Michael McKeegan. For their fourth album Semi-Detached, which was released in 1998, the line-up included Graham Hopkins and Martin McCarrick as full-time band members while Fyfe Ewing left the band before recording. The album entered several European album charts and features the singles "Church Of Noise" and "Lonely, Cryin' Only" and the final single "Stay Happy".

Semi-Detached is available for the first time as full-length vinyl LP, celebrating its 25th anniversary. The album is pressed on yellow and black marbled vinyl and includes an insert with lyrics.

Doppel-LP erhältlich auf gelbem Vinyl - Definitive Sammlung von Nancys seltenen Singles, Demos und bisher unveröffentlichten Stücken - Enthält 3 bisher unveröffentlichte Tracks, plus 3 Tracks, die ihr Vinyl-Debüt feiern - Das ausführliche Booklet enthält neue Interviews mit Nancy und Don Randi (The Wrecking Crew) PLUS nie zuvor gezeigte Fotos aus dem persönlichen Archiv von Nancy Sinatra - Der Ton wurde von den analogen Originalbändern von dem GRAMMYr-nominierten Toningenieur John Baldwin neu gemastert - Doppel-LP im Gatefold-Jacket mit 24-seitigem Buch - CD mit 40-seitigem Booklet // Light in the Attic feiert weiterhin die einflussreiche Karriere der Sängerin, Schauspielerin, Aktivistin und Ikone Nancy Sinatra mit einer fesselnden neuen Sammlung, "Keep Walkin': Singles, Demos & Raritäten 1965-1978", die vom GRAMMYr-nominierten Toningenieur John Baldwin neu gemastert wurde und 25 B-Seiten, seltene Singles, Cover, Demos und bisher unveröffentlichte Aufnahmen aus Sinatras reichhaltigem Katalog enthält. Das 2-LP-Set wird in einem erweiterten Klappcover präsentiert und von einem 24-seitigen Booklet begleitet (das auch in der CD-Ausgabe als 40-seitiges Booklet enthalten ist), das eine Reihe von Fotos aus der persönlichen Sammlung der Künstlerin sowie ein neues, ausführliches Interview mit Sinatra enthält. "Keep Walkin': Singles, Demos & Rarities 1965-1978" dient als Ergänzung zu der weithin gefeierten Retrospektive Start Walkin' 1965-1976 aus dem Jahr 2021, die die gesamte Karriere umfasst.

DJ Drama said about the album: I don't want to dramatize it too much – no pun intended, But the album is just bangers, something that can rock from beginning to end.
Guest appearances on the album include T.I., Young Dro, Sean P, Lonnie Mac, Ludacris, Willie the Kid, Trey Songz, Gucci Mane, LA Da Darkman, Yung Joc, Bun B, Flo Rida, Mike Jones, Rick Ross, Trick Daddy, Ray J, Akon, Fabolous, Yo Gotti, OJ da Juiceman, Nas, Scarface, Marsha Ambrosius, The-Dream, Too Short, Styles P, Jovan Dais, Snoop Dogg, B.G., Juvenile, and Soulja Slim. The producers on the album include Drumma Boy, Tricky Stewart, Cordale "Lil C" Quinn, and DJ Khalil, among others.

Takeo Moriyama, Japan’s leading jazz drummer, loved by many new and old fans. Since the late 1960s, he has swept the free jazz world with the Yosuke Yamashita trio. After leaving the group, the radiating heat was condensed into an ensemble, evolving and deepening the musicality in a more melodic and rhythmic direction. And that activity will reach a peak in this work “Smile”.

Long before the Covid-19 pandemic, Chicago drummer, bandleader and composer Mike Reed had been thinking about isolation. "The Separatist Party" is the first installment of a three-album cycle involving a varied cast of musicians, dealing with themes of inner and outer human isolation.

Long before the Covid-19 pandemic, Chicago drummer, bandleader and composer Mike Reed had been thinking about isolation. "The Separatist Party" is the first installment of a three-album cycle involving a varied cast of musicians, dealing with themes of inner and outer human isolation.

"Ritualised choral chants and skronky electric guitar add textures and lustre, subverting possible expectations of an album whose principal instrument is the humble accordion. It may be called Avant Folk but it's so much more than that." - Sid Smith, Prog Magazine

Featured musicians on this are some of Norway's finest from the creative music field: Frode Haltli on accordion, Oddrun Lilja and Juhani Silvola on guitars, fiddlers Erlend Apneseth and Hans P. Kjorstad, horn players Rolf- Erik Nystrom and Hildegunn Oiseth, wizard Stale Storlokken (Supersilent) on Hammond, bassist Fredrik Luhr Dietrichson (Moskus), drummer Per Oddvar Johansen of The Source and multiple legendary Norwegian bands, as well as the up- and- coming traditional musician Helga Myhr on vocals.

Having performed in- demand Christmas shows at Jazz at Lincoln Center and around the world, Sands offers such classics as "Let It Snow, Let it Snow, Let It Snow," "Do You Hear What I Hear," "Sleigh Ride," Have Yourself a Merry Little Christmas," "Silent Night," "Jingle Bells," and "God Rest Ye Merry Gentlemen" as well as a few surprises.

Joining the NAACP Image Award nominee is vibraphonist Stefon Harris, saxophonist Jimmy Greene, guitarists Max Light and Marvin Sewell, bassist Yasushi Nakamura, percussionist Keita Ogawa and drummer Ryan Sands.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Wake Dream is proud to present Cumbayá a new EP by French musicians Gilbert Cohen (of Versatile Records fame) and Cosmic Neman, drummer of Zombie Zombie. One summer not too long ago the two decided to gather in the mysterious “Marienia Pension”, an artist’ residency in a historic surfer spot. Over the course of 1 week they set up studio in the library of the house, surrounded by a collection af antique science and biology books, and channeled sandy percussion and analog Atlantic tubular waves of their synths into these four pieces. Mixed by the one and only ICube.

Vinyl re-issue of the 2017 album. Norwegian power trio Bokassa fuse riffs and grooves into a hook-laden Molotov Rocktail of punk, hardcore, metal, and rock. In 2019 they were handpicked by Lars Ulrich to support Metallica alongside Ghost on their summer stadium tour all over Europe, UK and Russia. The legendary drummer hailed them as "his favourite new band" and described them as "Insanely fucking cool" after hearing the trio's first album Divide & Conquer.

Divide & Conquer is Bokassas self-released debut full length. A noisy no comprimise of an album that made it onto Metal Hammer UK´s list over the best debut of 2017, was called one of the most important Norwegian albums of the 2010s by Gaffa, and of course attracted drummer Lars Ulrich who invited the ba

Vinyl re-issue of the 2017 album. Norwegian power trio Bokassa fuse riffs and grooves into a hook-laden Molotov Rocktail of punk, hardcore, metal, and rock. In 2019 they were handpicked by Lars Ulrich to support Metallica alongside Ghost on their summer stadium tour all over Europe, UK and Russia. The legendary drummer hailed them as "his favourite new band" and described them as "Insanely fucking cool" after hearing the trio's first album Divide & Conquer.

Divide & Conquer is Bokassas self-released debut full length. A noisy no comprimise of an album that made it onto Metal Hammer UK´s list over the best debut of 2017, was called one of the most important Norwegian albums of the 2010s by Gaffa, and of course attracted drummer Lars Ulrich who invited the ba

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

Brian Auger’s Oblivion Express was the phoenix that rose from the ashes of sixties combo The Trinity. Fusing R&B, jazz, soul and funk, keyboard maestro Brian Auger created a new breed of music that took the US and the UK by storm. Auger’s unique experimentation culminated in rhythm-infused jazz funk that united Black and white ’70s audiences. The 6 studio albums that make up Complete Oblivion illustrate the group’s diverse musical influences and progression, from the 1970 self titled debut’s heavy jazz-rock to the jazz fusion, latin and disco tinged Reinforcements from 1975 - this process no doubt powered by the groups’ evolving line up, which included guitarists Jim Mullen and Jack Mills, drummers Robbie McIntosh & Steve Ferrone, bassists Barry Dean and Clive Chaman and vocalist Alex Ligertwood. The musical highlights within Complete Oblivion are many, but particular highlights to mention have to be Total Eclipse (Oblivion Express), Fill Your Head With Laugher (A Better Land), the blistering cover of Eddie Harris’ Freedom Jazz Dance (Second Wind), the Barry Dean composition Whenever You're Ready, the version of Marvin Gaye’s Inner City Blues (Closer To It), Beginning Again (Straight Ahead) and the mind bending keyboard tour de force Brain Damage (Reinforcements). Given the groups legendary status among fellow musicians such as Zucchero and Herbie Hancock, DJ’s like Kenny Dope and Gilles Peterson and Auger’s legion of fans worldwide - that mission was fully accomplished - or to put it another way, in the words of super fans The Beastie Boys: “Those who remain oblivious to the obvious delights of Brian Auger’s Oblivion Express do so at their own risk!”

King Tree & the Earthmothers is Henry James, Adam Ditt & Derek Eglit
Guitarist/singer Henry James (Robert Jon & The Wreck) and bassist
Adam Ditt (Balto, Gethen Jenkins) met in high school and were always
performing around and touring with different bands
There was a lot of chaos and inconsistency, but the constant would be after
school improvised jam sessions which would inspire the name and core concept
of the project. There was a certain freedom involved in performing as a trio that
always seemed to spark inspiration. Over the years James would find himself
working on psychedelic and progressive rock-influenced bedroom demos. Some
of these can be heard on 2020's "King Tree & The Earthmothers", an effort
performed, produced and recorded entirely by Henry James.
There were various incarnations of King Tree as a live band (as far back as 2016),
but the full potential of the group would not be realized until the addition of
drummer Derek Eglit (Painted Wives, Pinkly Smooth) in 2021. With an undeniable
and explosive chemistry, the trio became locally known in Southern California for
eclectic and virtuosic live performances. They brought a collection of songs to
the studio as a band in 2022 and are now preparing to release their true debut
album in 2023 and hit stages across Europe for the first time in October and
November.
King Tree & the Earthmothers is the "other" band for Henry James, guitarist for
Robert Jon & The Wreck - They will be touring Europe in October/November 2023

McCombs is one of the most highly regarded bassists/guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago"s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell, and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback. Douglas McCombs" VMAKMcCombs" debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. Taking after Brokeback"s classic Morse Code in the Modern Age: Across the Americas, "Two To Coolness" is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer/guitarist/synth player Sam Prekop (also of The Sea and Cake). "Green Crown"s Step" was largely improvised working through melodies and patterns. The stately "To Whose Falls Shallows" reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album. On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs" work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

Initial LOSER copies pressed on lovely Transparent Sun Yellow vinyl! This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

Legendary Dublin punk band formed in November 1978 by Maurice Foley (guitar/vocals), which had a number of iterations before disbanding in 1981. The Threat built up a following in Dublin and maintained a heavy reputation through the 1979 and 1980. Playing the legendary Dandelion on a couple of occasions towards the end of 1979 and became friendly with members of the Virgin Prunes and U2. Stano, another friend of the band, bought a synthesizer, purely as a sound generator, and joined them. As a nonmusician, his synth added noise and texture to the band's sound and brought out their experimental side.

This tape of the band's April 1981 gig in Limerick came to us a few years ago from one of the band members drummer Stephen O' Brien and it's been remastered for the perfect cassette experience.

Appleton, Wisconsin’s Dusk may seem to have fallen from the sky. Surrounded by a music climate of destination festivals and instagram celebrity, they’ve remained reclusive, yet focused on the proverbial
carrot on the end of the stick that’s hard for so many working musicians to define. For the past four years, they’ve maintained a steady schedule of recording and “hitting the dirt,” as they say: spending weeks on the road playing dives and basements. The group was conceived in 2014 as a casual recording project between vocalist and bassist Amos Pitsch and drummer Colin Wilde. Amos had just
completed recording Predatory Headlights, the critically acclaimed double album by his other group, Tenement, and with the new found down time, he and Colin arranged their own versions of vintage
soul songs. The intention was to treat the project like a revolving door for collaborators, but soon the permanent additions of vocalist/pianist Julia Blair, lead guitarist Tyler Ditter, and Ryley Crowe on pedal steel, rhythm guitar, and vocal duties would cement the band into a connsistent rock and roll ensemble; informed by soul music, country, jazz, and beyond.

Experimental Rock / Abstract Hip-Hop / Post Industrial music Pascal Bouaziz used to be the singer and leader of French rock band Mendelson, and "Bruit Noir" (Black Noise) is his side project. This is a completely new venture, a departure from everything he's done over the last 20 years, bringing together hard-hitting lyrics and biting sounds. Boaziz has improvised lyrics over music by drummer Jean-Michel Pirès, who has played with Bed and Married Monk, a blend of the stripped-down clarity of Pérec's A Man Asleep and the stormy punk of Suicide. Crossing the boundaries of the politically incorrect, Bruit Noir offers a raw, hard-hitting album, where the sincerity of the words blends with the intensity of the compositions.

Going, Going, Going, Gone: The Rare Recordings of
Connie Cunningham and the Creeps Vol. 1
When Nick Kinsey moved into his farmhouse in New York's Hudson
Valley, he dreamed that he would stumble upon a trove of unreleased
music from some eccentric artist who'd previously lived there - If anyone
would be inclined to expect that kind of treasure, it would be the prolific
Kinsey, who in addition to his own music has produced and played on
Waxhatchee's St Cloud, toured with Kevin Morby, and drummed for AC
Newman, Hand Habits, and Cold War Kids, among many others
And with all those various styles and ideas swirling around his head, that
imaginary stash of songs appealed more and more. "I needed to create a fictional
character to get into the headspace necessary to finish this group of songs,"
Kinsey says. "I was able to escape my usual writing blocks and get away from any
need to sound 'cool' by pretending I was this fictional weirdo and failed session
musician." And after rounding out his compositions with some key collaborators,
the first volume of Connie Cunningham and the Creeps fulfilled Kinsey's dream in
the form of six brilliant, retro oddball pop planets circling one oddball songwriting
star.

'Scapegoat' is the new album by TRIOLA, the project led by the prolific Tokyo-based composer & experimental string musician Atsuko Hatano, featuring the Japanese violinist Anzu Suhara.

Conceived as a strings project, with Hatano on viola and Suhara on violin, TRIOLA involves a rotating ensemble of guest musicians, including the likes of Chicago-born musician, composer & producer Jim O'Rourke (Drag City, Sonic Youth, Steamroom), the composer & musician Eiko Ishibashi (Drag City, Black Truffle), Australian composer Joe Talia (Touch, Room40, Feeding Tube Records), Yamaguchi-born drummer Tatsuhisa Yamamoto (releases on Black Truffle, Longform Editions, SUPERPANG, performances with Keiji Haino, Oren Ambarchi & Phew +++), Sendai-based vocalist & musician Koji Shibuya (Maher Shalal Hash Baz, Yumbo) & many more.

New Music Fix BBC Radio 6 8th August.

Doppel-LP erhältlich auf gelbem Vinyl - Definitive Sammlung von Nancys seltenen Singles, Demos und bisher unveröffentlichten Stücken - Enthält 3 bisher unveröffentlichte Tracks, plus 3 Tracks, die ihr Vinyl-Debüt feiern - Das ausführliche Booklet enthält neue Interviews mit Nancy und Don Randi (The Wrecking Crew) PLUS nie zuvor gezeigte Fotos aus dem persönlichen Archiv von Nancy Sinatra - Der Ton wurde von den analogen Originalbändern von dem GRAMMYr-nominierten Toningenieur John Baldwin neu gemastert - Doppel-LP im Gatefold-Jacket mit 24-seitigem Buch - CD mit 40-seitigem Booklet // Light in the Attic feiert weiterhin die einflussreiche Karriere der Sängerin, Schauspielerin, Aktivistin und Ikone Nancy Sinatra mit einer fesselnden neuen Sammlung, "Keep Walkin': Singles, Demos & Raritäten 1965-1978", die vom GRAMMYr-nominierten Toningenieur John Baldwin neu gemastert wurde und 25 B-Seiten, seltene Singles, Cover, Demos und bisher unveröffentlichte Aufnahmen aus Sinatras reichhaltigem Katalog enthält. Das 2-LP-Set wird in einem erweiterten Klappcover präsentiert und von einem 24-seitigen Booklet begleitet (das auch in der CD-Ausgabe als 40-seitiges Booklet enthalten ist), das eine Reihe von Fotos aus der persönlichen Sammlung der Künstlerin sowie ein neues, ausführliches Interview mit Sinatra enthält. "Keep Walkin': Singles, Demos & Rarities 1965-1978" dient als Ergänzung zu der weithin gefeierten Retrospektive Start Walkin' 1965-1976 aus dem Jahr 2021, die die gesamte Karriere umfasst.

One of the most popular instrumentalists in the world, trumpeter Chris Botti gets back to the jazz essence of his artistry on his Blue Note debut Vol. 1. The album is a beautiful ballads collection featuring stunning new renditions of beloved standards including “Bewitched, Bothered and Bewildered,” “Old Folks,” “My Funny Valentine,” “Someday My Prince Will Come,” and “Blue In Green,” as well as a cover of Coldplay’s “Fix You” and the vocal feature “Paris” with John Splithoff. The album was produced by David Foster and features performances by violinist Joshua Bell, pianist Taylor Eigsti, guitarist Gilad Hekselman, drummer Vinnie Colaiuta, and others.

American jazz bassist, composer, and producer Jaco Pastorius was a member of Weather Report during the Seventies and also recorded albums as a solo artist. As of 2017, he is the only electric bassist inducted into the Downbeat Jazz Hall of Fame and has been lauded as one of the best electric bassists of all time.

He recorded five albums in total with acclaimed drummer Brian Melvin, including the 1989 Jazz Street. This body of work is one of Pastorius' last studio dates and features session musicians Rick Smith, Jon Davis, Paul Mousavi, Bill Keaney and Keith Jones. Together they recorded cover versions of jazz classics; Joe Henderson “Out Of The Night”, John Coltrane “Miles Mode”, and three Jon Davis tracks, “Wedding Waltz”, “No Slack” and “Drums Of Yadzarah”.

This Christmas album contains some of the biggest evergreens of the season. These are the holiday
songs you know by heart, the ones that immediately put you in the Christmas mood. Featuring Bing
Crosby with "White Christmas", Elvis Presley with his "Blue Christmas", Brenda Lee's "Rockin' Around
The Christmas Tree", Johnny Cash's "Little Drummer Boy", Louis Armstrong's evergeeen "Winter
Wonderland", Ella Fitzgerald and many others. Limited Edition on Solid White vinyl.

Joris Feiertag is a Dutch producer and drummer from Utrecht in the Netherlands who makes music that is a finely balanced blend of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba. Roots is his third album on revered German imprint Sonar Kollektiv. The LP features not only a plethora of vocalists from across the globe, but also sees the producer playing with obscure samples and sounds, as he attempts to discover a new direction and find that sweet spot between dark and light; major and minor; new and old; uplifting electronica and soul

Im zehnten Jahr des Bestehens von Diabolic Night veröffentlicht Heavy Steeler ein zweites Album, das sein Soloprojekt nicht nur endgültig definiert, sondern auch die Grenzen dessen verschiebt, was die Szene als reine Lehre des Blackened Speed Metal bestimmt hat.

Der zurückgezogen lebende Nordrhein-Westfale verfeinerte sein Handwerk im Laufe eines Demo, einer Single und einer Mini-LP, ehe er Ende 2019 sein Debütalbum "Beyond the Realm" veröffentlichte, das von der Kritik hochgelobt wurde, und legte damit die Grundstein für die Dinge fest, die da noch kommen sollten.

"Ein Wunsch, den ich schon in jungen Jahren hegte, war, eine zusammenhängende Geschichte zu schreiben, die in einer fiktiven Welt spielt, in der der Zuhörer von der ersten bis zur letzten Sekunde gefesselt ist", erklärt Heavy Steeler und betont, dass die gegenwärtige Realität vor der rein eskapistischen Erfahrung in den Hintergrund rückt. Daher ist "Beneath the Crimson Prophecy" noch themenbezogener als sein lose konzeptioneller Vorgänger.

Atmosphärisch weist das neue Material eine etwas düsterere Rüstung auf, ohne die Vorzüge zu vernachlässigen, für die der Multi.Instrumentalist, Komponist und Sänger bekannt geworden ist: NWoBHM-beeinflusste Leadgitarren wie im Ohrwurm "Pandemonium" oder in "Starlit Skies" mit seinen süchtig machenden, mitsingbaren Melodien, frostige Tremolos direkt aus dem Skandinavien der frühen 90er sowie unverkennbares halsbrecherisches Schlagzeugspiel wie aus dem Ruhrgebiet Mitte der 80er Jahre und gebellte Vocals.

Dennoch hat das Ganze einen epischen Touch, der die Erzählstruktur hervorhebt und von Heavy Steelers kompromissloser Vision zeugt. Die Songs wurden erneut mit dem bewährten Drummer Christhunter in drei verschiedenen Studios aufgenommen und mit einem weiteren eindrucksvollen Cover von Adam Burke (Angel Witch, Portrait) geschmückt. Sie schreien danach, auf der Bühne performt zu werden, was natürlich mit einer kompletten Live-Besetzung geschehen wird. Tatsächlich ist es jetzt an der Zeit, einen Blick auf das zu werfen, was "Beneath the Crimson Prophecy" liegt…

Im zehnten Jahr des Bestehens von Diabolic Night veröffentlicht Heavy Steeler ein zweites Album, das sein Soloprojekt nicht nur endgültig definiert, sondern auch die Grenzen dessen verschiebt, was die Szene als reine Lehre des Blackened Speed Metal bestimmt hat.

Der zurückgezogen lebende Nordrhein-Westfale verfeinerte sein Handwerk im Laufe eines Demo, einer Single und einer Mini-LP, ehe er Ende 2019 sein Debütalbum "Beyond the Realm" veröffentlichte, das von der Kritik hochgelobt wurde, und legte damit die Grundstein für die Dinge fest, die da noch kommen sollten.

"Ein Wunsch, den ich schon in jungen Jahren hegte, war, eine zusammenhängende Geschichte zu schreiben, die in einer fiktiven Welt spielt, in der der Zuhörer von der ersten bis zur letzten Sekunde gefesselt ist", erklärt Heavy Steeler und betont, dass die gegenwärtige Realität vor der rein eskapistischen Erfahrung in den Hintergrund rückt. Daher ist "Beneath the Crimson Prophecy" noch themenbezogener als sein lose konzeptioneller Vorgänger.

Atmosphärisch weist das neue Material eine etwas düsterere Rüstung auf, ohne die Vorzüge zu vernachlässigen, für die der Multi.Instrumentalist, Komponist und Sänger bekannt geworden ist: NWoBHM-beeinflusste Leadgitarren wie im Ohrwurm "Pandemonium" oder in "Starlit Skies" mit seinen süchtig machenden, mitsingbaren Melodien, frostige Tremolos direkt aus dem Skandinavien der frühen 90er sowie unverkennbares halsbrecherisches Schlagzeugspiel wie aus dem Ruhrgebiet Mitte der 80er Jahre und gebellte Vocals.

Dennoch hat das Ganze einen epischen Touch, der die Erzählstruktur hervorhebt und von Heavy Steelers kompromissloser Vision zeugt. Die Songs wurden erneut mit dem bewährten Drummer Christhunter in drei verschiedenen Studios aufgenommen und mit einem weiteren eindrucksvollen Cover von Adam Burke (Angel Witch, Portrait) geschmückt. Sie schreien danach, auf der Bühne performt zu werden, was natürlich mit einer kompletten Live-Besetzung geschehen wird. Tatsächlich ist es jetzt an der Zeit, einen Blick auf das zu werfen, was "Beneath the Crimson Prophecy" liegt…

Corey Fuller and Tomoyoshi Date are the Illuha duo but for this new Tobira album they link with percussionist Tatsuhisa Yamamoto. He is a skilled drummer who has worked alone on Black Truffle but has also collaborated with Jim O'Rourke, Eiko Ishibashi, Keiji Haino, Phew and Oren Ambarchi among others. This new record focusses on electro-acoustic sounds that are run through with all manner of precise sonic details and are carried by Yamamoto's unique playing style and singular sense of groove which were recorded over two sessions. That playing style finds him playing very lightly with closely mic'ed drums so plenty of softness is captured and then interwoven with layers of Rhodes, piano, distant synths and metallic murmurations.

Featuring a selection of new compositions and a return to his celebrated quartet (pianist Jim Ridl, bassist Lorin Cohen, and drummer Samvel Sarkisyan) Makram is the latest addition to Locke's
extensive leader discography, an album that incorporates soul, swing and world-music influences, synthesized into Locke's inimitable style.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

In his childhood home among the Bavarian Alps, where the loudest sounds were the ringing of church bells and the mooing of cows, he discovered the power of music via his sister's collection of rock records: Jimi Hendrix, The Red Hot Chili Peppers and Nirvana. Improvised music and the double bass were revelations that spurred his next voyages of discovery - first to the Richard Strauss Conservatory in Munich, then north to the Jazz Institute in Berlin, then across the ocean to New York at the Manhattan School Of Music. Since returning to Berlin, he has released two acclaimed albums as part of the band SCOPES. Now we are invited to join him for Journey, his debut album as a leader & composer. With him is a select crew of his peers from among the brightest young stars of the thriving Berlin scene - Ben Kraef on tenor sax, Carl Morgan on guitar, Simon Seidl on piano and drummer Fabian Rosch - Tom has embarked on a fascinating journey of musical exploration; producing a superb culmination of all he has learned along the way and venturing to another level.

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.