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Repress!

RYUICHI SAKAMOTO'S 1985 ELECTRONIC AND AMBIENT CLASSIC RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME SINCE ITS ORIGINAL RELEASE WITH NEW LINER NOTES BY ANDY BETA AND AUDIO REMASTERED BY SEIGEN ONO

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album "Esperanto", composed for a performance by New York avant garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, "Esperanto" is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. This special reissue comes with original artwork including a 2 pages insert with a new introduction by Journalist Andy Beta. The audio has been remastered in Tokyo by Seigen Ono.
"Esperanto" originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film "Merry Christmas Mr. Lawrence" (in which he starred alongside David Bowie), "Esperanto" was a return to Sakamoto's leftfield roots.
?Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion).
?Indeed, the album is a fascinating soundscape experimenting with the new sampler technology - which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time.
?Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive
repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones.
?One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album "Hidari Ude No Yume." "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from "Esperanto" would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin.
?A unique album in Ryuichi Sakamoto's rich discography, "Esperanto" is a groundbreaking work worth rediscovering in its full glory.

Joe Pernice has been writing for a long time—most of his life, in fact—and has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. Who Will You Believe may be his most moving and nuanced album yet; it’s certainly his timeliest. “These songs were all written during the same time period,” he says, “and they all seemed to tap into a mood I was in at the time. I go through spells where I’m a certain way for three or four months. I might be more reticent than usual, or more outgoing. With all of my records—and especially with this one—the songs all feel like they belong together, probably because they all arrived during the same stretch of time.”

In a single six-month stretch he was left reeling from the deaths of three close friends, including David Berman, poet and songwriter for Silver Jews and Purple Mountains, and Gary Stewart, the Rhino Records co-founder and tireless Pernice Brothers supporter since their first album in 1998. “That was such a bad patch when David and Gary both took their own lives. And my cousin Joe Harvard, who started Fort Apache Studios in Boston and was like a brother to me—he died, too. It was such a tough year. I was thinking about them a lot and watching how divided America had become. I was doing my best to try and take nothing for granted.”

Pernice has been releasing albums for over 25 years. And with age comes a greater patience and an immense appreciation for the act of creation. Who Will You Believe showcases a beautiful balance between such sadness and moments of solemnity with warm humor and camaraderie.

"To celebrate the Grateful Dead's 15th anniversary in 1980, they did something extraordinary: they played a fifteen-show run in San Francisco, and an eight-show run in New York City, with the most exciting of these being an additional, acoustic 45 minute set to open every show, their first acoustic sets since 1970. These sets saw the reinterpretation of some classic Dead and solo songs, older traditional songs from the jugband days and the 1970 acoustic sets, and some new additions to the Dead's repertoire. Recorded to 32-track tape (two 16-track tape machines synced up), Reckoning is one of the greatest, most clear sounding live records the Dead ever produced. Featuring countless classics including “Cassidy”, “Bird Song”, “Monkey and the Engineer”, and “Ripple”. • Will be newly mastered by GRAMMY® Award-winning engineer David Glasser, Produced for release by the Dead’s Audio Archivist and Legacy Manager, David Lemieux"

Repress!

Brie Stoner ist eine Künstlerin, die sich ihres mehrsprachigen und multikulturellen Hintergrunds gekonnt bedient. Sei es nun in ihrer Indie-Dream-Rock-Musik, ihrem Schreiben oder ihrer Kunst. Als Musikerin hat Stoner mit dem Produzenten Jay Bennett (Wilco) und zuletzt mit David Vandervelde (Father John, Secretly Canadian) an ihrem neuen Album 'Me Veo' gearbeitet.

'Me Veo' ist spanisch für "Ich sehe mich selbst", und diese offenkundige Selbstentdeckung und Heimkehr wird in ihren Indie-Dream-Rock-Songs deutlich, die den Bogen ihrer eigenen Weiblichkeit spannen ... die zwischen verführerischer Sirene, verletzlicher Zärtlichkeit und Momenten der Souveränität in ihrer unverblümten Aufrichtigkeit harmonieren.

Ihr Sound ist ihr ganz eigener, lässt sich aber von Neil Young, Fleetwood Mac und Mazzy Star inspirieren. Brie's Musik wurde bereits von Victoria Secret, Orange Is the New Black, The Affair und Ralph Lauren genutzt.

Brie hat ein neues Buch veröffentlicht und moderiert den Podcast Unknowing, in dem Künstler und andere Kreative über ihre Arbeit sprechen.

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales… and doesn't want to be famous".

"Enjoy The Toons Records in conjunction with Nickelodeon proudly present Doug & The Beets - Songs From Bluffington. Featuring new artwork sourced from the original Nickelodeon style guide, this limited edition 12" vinyl pressing with screen printed B(eet) Side was pressed at 45RPM for optimal sound quality.

Songs From Bluffington is a tribute album by Doug & The Beets. The band is composed of Long Island natives Chris Wall, David Kaplan & Matthew Fox, who came together to pay tribute to their favorite songs from Bluffington, which otherwise were never commercially released."

Wayne Shorter’s mesmerizing 1970 album Odyssey of Iska was the last release of the saxophonist’s early Blue Note period. The album was a tribute to his daughter Iska which found Shorter continuing his own unique explorations into fusion having just left Miles Davis to form his band Weather Report. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

Wie Reckoning ist auch Dead Set ein Live-Album, das
während der ausgedehnten Aufenthalte der Dead's in San
Francisco und New York im Herbst 1980 aufgenommen
wurde. Es wurde auf analogem 32-Spur-Band
aufgezeichnet und klingt so großartig wie damals im
Warfield und in der Radio City Music Hall, als die Musik
live gespielt wurde. Gefüllt mit zahllosen Grateful
Dead-Klassikern, von denen die meisten noch nie auf
einem Live-Album der Band erschienen sind, darunter
neuere Songs wie "Feel Like A Stranger" und "Little Red
Rooster", Klassiker der 1970er Jahre wie "Samson and
Delilah", "Fire On The Mountain", "Franklin's Tower" und
"Passenger" sowie ein Trio von American Beauty-Songs
aus dem Jahr 1970, "Candyman", "Friend Of The Devil"
und "Brokedown Palace".
- David Lemieux, Grateful Dead Legacy Manager und
Audioarchivar

Zur Feier des 15-jährigen Jubiläums der Grateful Dead
im Jahr 1980 unternahmen sie etwas Außergewöhnliches:
Sie spielten fünfzehn Shows in San Francisco und acht
Shows in New York City, wobei das Aufregendste daran
ein zusätzliches, 45-minütiges Akustik-Set war, mit dem
sie jede Show eröffneten - ihre ersten Akustik-Sets seit
1970. In diesen Sets wurden einige klassische Dead- und
Solo-Songs neu interpretiert, ältere traditionelle Songs aus
der Zeit der Jugband und der Akustik-Sets von 1970
sowie einige Neuzugänge im Repertoire der Dead.
Aufgenommen auf 32-Spur-Band (zwei
16-Spur-Bandmaschinen, die miteinander synchronisiert
wurden), ist Reckoning eine der besten und klarsten
Live-Aufnahmen, die die Dead je produziert haben. Mit
unzähligen Klassikern wie "Cassidy", "Bird Song",
"Monkey and the Engineer" und "Ripple".
- David Lemieux, Grateful Dead Legacy Manager und
Audioarchivar

For fans of Montrose, Van Halen, and Hard Rock! Red Voodoo is breaking out on the scene with their electric stage presence, polished harmonies, and classic but fresh new take on Rock ‘n’ Roll. Based out of Sacramento, CA the group has been playing clubs since 2019 and released two singles “Rise Up” and “Bring It Back” in 2020. This led to opening spots for heavy hitters in rock such as rock n roll hall of famer Sammy Hagar, Bay Area legends Y&T, Everclear, Slaughter, and many more. Red Voodoo is the youngest band to date to play the Monster Of Rock Cruise alongside Alice Cooper and Buckcherry. Now Red Voodoo has just wrapped up recording at the famous Hyde Street Studios in San Francisco working on their5 track EP with Grammy nominated producer Jaimeson Durr (Don Henley, Sammy Hagar, Nancy Wilson, etc....). Red Voodoo consist of lead singer and frontman Dino McCord, Lead Guitarist Davin Loiler, Bassist Andrew Edwards, and Drummer Andy Nathan, and is summed up best by former Van Halen vocalist, “RED VOODOO is a breath of fresh air in today’s pop culture of music. You can hear the influence of all the classic hard rock bands from the 70s and 80s with a young fresh twist.”

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

LIMITED REPRINT .Introductions by David Fricke and Adrian Shaughnessy. 224 pages, comes in a tactile Geltex hardcover and is beautifully designed by Hiorthøy. Includes a 7" single with exclusive tracks from Fire! Orchestra, The Last Hurrah!! and Maja S. K. Ratkje. It´s no secret that Rune Grammofon founder Rune Kristoffersen is a big admirer of labels like Blue Note, Impulse, ECM, 4AD and Factory, to mention some labels with strong visual identities. But we can´t recall another label that has worked with one designer exclusively for 25 years and some 250 releases. A singular visual language that's as distinctive as Hipgnosis' 1970s surreal juxtapositions, or the brooding portraiture gracing ECM Records' output. Prog (UK) As well as being a piece of guaranteed coffee table eye-candy for music lovers, the book promises an insight into the fascinating process of bringing a record and its cover to life. Creative Review (UK) RG feels like a dream vision of a record label - fuelled by passion, irreverent in tone yet serious in execution, somehow miraculously buffered from corporate industry expectations. The sound and visuals here cover two decades of inspiration and unpredictability, but they also bristle with creative possibilities for a long time to come.Elephant (UK)

Ursprünglich im September 2000 auf Science/Virgin veröffentlicht, festigte Solaris Rupert Parkes' Rolle als unverwechselbare Kraft im Bereich des Underground-Dance und führte einige seiner Zuhörer in die Irre, indem es sich vom mathematischen Drum and Bass seines Debüts Modus Operandi entfernte. Diese Wiederveröffentlichung wird hier mit akribischer Aufmerksamkeit für die Details der ursprünglichen britischen Erstpressung präsentiert und ist auf zwei 140g-LPs erhältlich. Modus Operandi wurde 1997 veröffentlicht und war sowohl ein Kritiker-Liebling als auch ein kommerzieller Erfolg, der Photek als eine Art schattenhafte Leitfigur in der Welt des Drum and Bass etablierte, nachdem er in den Jahren zuvor bei Metalheadz gelernt hatte. Solaris, das drei Jahre später erschien, wurde mit Spannung erwartet; hier spielte Photek mit Form und Genre. Glamorama mit seiner stark verhallten Bearbeitung der Stimme der Künstlerin Marie-Jos Jongerius klingt nicht unähnlich zu David Byrnes und Brian Enos klassischen Cut-ups von My Life In The Bush of Ghosts. Wo Solaris von seinem Vorgänger abweicht, ist der wunderschöne Deep-House-Sound von Mine To Give und Can't Come Down, die beide von der Chicagoer Legende Robert Owens gesungen werden und Photeks Techno-Seele mehr Herz verleihen. Wie um seine Kritiker zum Schweigen zu bringen, zeigten die unerbittlichen achteinhalb Minuten von Infinity, dass nur wenige die Grenzen von Drum and Bass so weit hinausschieben können wie Photek. Photek ist heute ein etablierter Film- und Fernsehkomponist in Hollywood. Dennoch wird seine Arbeit liebevoll in Erinnerung behalten und sehr respektiert.

DJ Support: Martin Garrix, Don Diablo, Nic Fanciulli, Chris Lake, Claptone, Mark Knight, David Penn, Tini Gessler, Marco Lys

Renowned Curacao-born electronic music duo Shermanology drop a 4 track EP on their own cutting-edge label, D'EAUPE, inc My World, Boys In Da Club, U Got Me and Hijos De La Noche.

Known for their dynamic sound and ability to seamlessly fuse various genres, Shermanology has consistently been at the forefront of the electronic music scene.

Infectious beats and soulful vocals showcase Shermanology's mastery in creating music that transcends genres and brings people together on the dance floor. This release marks a significant milestone for Shermanology as they continue to make waves in the industry with their forward-thinking approach.

The inaugural chapter of a two-part epic. Get ready for an eclectic and unique modern twist fusion of proto- EBM, New Beat, Electro, Rave Breaks and early UK house, weaving together a tapestry of diverse influences. Experience the raw energy pulsating through potent basslines, driving each track forward with unstoppable force.

Meanwhile, deep and thought-provoking lyrical voice samples captivate the mind, inviting listeners to ponder existential questions and explore the depths of consciousness and creating innovative soundscapes leaving an indelible mark on the listener’s psyche. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

* Brand new outing from dub producer I David who takes us on a dubby journey on the Orient Express into Istanbul and further into Anatolia.
* The track titles are mostly belly-dancing related which gives to clue to the content.
* Featuring an instrumental and three dub excursions of the same tune.
* For fans of The Rootsman, Muslimgauze etc.
* 300 copies only

Psychedelic pop act Jawbone had ample talent and keen industry connections yet remained unjustly obscure. Core members had been active in The Mirage, who signed with CBS and later recorded for Phillips; drummer David Hynes and bassist/future Elton John Band mainstay Dee Murray briefly joined the Spencer Davis Group, but regrouped as Portobello Explosion, which became Jawbone. Their rare self-titled debut, released by Carnaby in 1970, had an undercurrent of Americana, and there’s a one-off cover of The Beatles’ ‘Across The Universe’; this edition features bonus track ‘Way, Way Down,’ a non-LP Carnaby 45.

Multifaceted San Francisco psyche-delic band It’s A Beautiful Day drew on aspects of folk, classical, jazz and world music, their outstanding differences driven by the lead vocalist and violinist David LaFlamme, his keyboardist wife Linda, and harmony singer Patti Santos. This engaging compilation joins the anthem ‘White Bird’ and the spirited ‘Hot Summer Day’ with ‘Don And Dewey’ (based on ‘Wring That Neck’ by Deep Purple, who nicked one of their musical themes for the intro to ‘Child In Time’), plus the previously unreleased ‘Summer Blues’ and ‘You Are The Sun’ – this stunner’s a must for all It’s A Beautiful Day fans!

Influential Detroit band Destroy All Monsters mashed up punk, garage and noise rock, their atypical work notably influencing Sonic youth’s Thurston Moore. By the time of their first recordings, the group included pedigree members such as guitarist Ron Asheton of the Stooges and bassist Mike Davis of the MC5, as well as drummer Rob King, apoplectic vocalist Niagara, and assorted friends. Bored is a must-have compilation that brings together their early singles from the late 1970s, including ‘You’re Gonna Die,’ ‘Nov 22’, ‘Meet The Creeper,’ ‘What Do I Get?’ and the outstanding title track that began their acceleration.

Before Uriah Heep there was Fat Toe, and before Fat Toe there was The Gods, who recorded this risqué hard prog album, Orgasm, as Head Machine. Singer/keyboardist/guitarist Ken Hensley takes centre stage under the alias Ken Leslie, his lyrics alluding to the undeniable allure of human coitus and aspects of its management, the climax eventually coming in audible groans, though the guitar really drives most of the songs forward, with stereo panning. Produced by David Paramour, who had worked with Garnett Mimms and The Nocturnes, it was recorded in late 1969 and released in small number by Major Minor; this reissue spins at 45 RPM for improved fidelity.

Beginning in the mid-1960s as a covers band, the group that came to be Unicorn soon determined that original material was the way to go, and after being inspired by a Crosby, Stills and Nash album, their particular brand of enlightened folk rock tinged with country shades yielded a contract with Transatlantic for their 1971 debut. Fast forward to 1974 and Blue Pine Trees finds the band at their finest with sweeping harmonies and bluegrass tinges, and with Pink Floyd’s David Gilmour in the producer’s chair, all of their glorious potential is realised on this lost gem of an album that is fully ripe for rediscovery. A truly great work!

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

Sonny Stitt replaced John Coltrane when he left the Miles Davis Quintet in April 1960.




[c] B1 Walkin [incomplete]

Nick Garrie was an unknown backpacker until his music was discovered in the late ’60s while busking in the South of France. Recognising his talent, work on a collection of recordings followed which would culminate in his legendary debut album The Nightmare of J.B. Stanislas. Set to be released in 1969 on the influential French label Disc’Az, however due to the suicide of the label’s founder, Lucien Morisse, shortly before the album’s release date, only about 100 copies of this psych pop/soft rock masterpiece came into circulation. It became a cult album in the truest sense and was finally reissued almost 40 years later. With the death of Morisse, Nick took some time away from recording only to return under an alias, writing with Oscar and Golden Globe winning composer Francis Lai. His directory of credits only grew as he worked with Paul Samwell-Smith (The Yardbirds), Alun Davies (Cat Stevens’ Band), drummer Gerry Conway and Leonard Cohen. Nick Garrie grew his audience in Europe, penning an album that would top the charts in Spain. In 2005 the album The Nightmare of J.B Stanislas was reissued, achieving critical acclaim from The Independent, BBC & Record Collector. Nick’s resurgence combined with fascination of his back story led to a new generation of music fans and musicians appreciating Garrie’s work. In this tim he was collaborated with the likes of Duglas T. Stewart (BMX Bandits) Norman Blake and Francis McDonald (Teenage Fanclub) and Gary Olson (The Ladybug Transistor). Now, for the first time ever, the classic title track is to be released as a 7” single. It is also the first ever vinyl release of Nick’s work on a UK label. The B side is a song close to Nick’s heart Around the World. This track was also written in the ’60s but had never been recorded before. It was recorded at Nick’s home in late 2023 with the help of fellow 9X9 recording artist Jamie Whelligan and musician/producer Nick Frater.

With Pere Ubu on hiatus since 1982’s excellent ‘Song Of The Bailing Man’, David Thomas had recorded a` much-praised solo album and the band had now signed to a major label. In a period of rampant world commercialism, what would happen next? Another crucial era for the band unravelled, Pere Ubu’s journey charted new undulating territory and so began a three-album escapade that retooled our understanding of what pop music is. Things were further obscured with ‘Cloudland’ when they released “their industrial strength equivalent of a class Beach Boys album from musicians more familiar with factories than surf.” (Greg Kot, Chicago Sun Times).

If I had to do it all over again, I wouldn't listen to records. I very rarely listen to jazz records because they all do the same thing. I only listen to original musicians like Ahmad Jamal and Duke Ellington, musicians like Clark Terry, Dizzy Gillespie, Sonny Rollins and John Coltrane." A true icon, Miles Davis left an indelible mark on the genre through his recordings. "The Miles Style" is a compilation of his masterpieces, the timeless quality of the album and Miles Davis' ability to reshape jazz make it a classic

After Sunrise, the new collaboration from Circles Around The Sun and Mikaela Davis reunites the disco cosmonauts and acclaimed harpist for further explorations of the synergy first showcased on the title track of CATS’ 2023 album, Language.

Comprised of two new original compositions, ‘Gloaming Way’ and ‘Moonbow’, and an inspired interpretation of Brazilian legend Sérgio Mendes’ ‘After Sunrise,’ the album features the first appearance of vocals on a Circles Around The Sun recording, sung by Davis. A live take on ‘Language’ rounds out the second side and brings the pairing full circle.

Once the endless night of the discotheque finally gives way to morning light, you may find yourself seaside as the sun peeks over the horizon. As the party rolls through the dawn and into the day, this is the soundtrack.

This is After Sunrise. If it’s nice, play it twice."

Unavailable on all formats since the early 2000s, Alison Brown’s GRAMMY-nominated debut album SIMPLE PLEASURES was a leap forward for Scruggs-rooted banjo playing when it was first released in 1990. For the 2024 reissue, the original 8-track, 1” multitrack tapes were transferred at a resolution of 192kHz/36-bit, and remixed and mastered. The album was produced by David Grisman and includes guests included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

One of the four immortal albums the Miles Davis Quintet featuring John Coltrane recorded for the Prestige label during the two marathon sessions on May 11 and October 26 of 1956, and which resulted in Workin' (presented here), Relaxin', Steamin' and Cookin'. Includes Miles' unforgettable reading of the ballad "It Never Entered My Mind," as well as his most iconic version of "Four".

A true jack-of-all-trades, he has played and recorded virtually every style of music you can think of - Soul, Reggae, Jazz, Spirituals, Blues, African, Electro. Etc... Initially trained on classical piano, his musical career began in Brussels and Paris in the 50s. In the 60s, he flew to the Congo as a member of Joseph Kabasele's African Jazz group, Le Grand Kalle. Next came Cameroon in 1963, where he formed his own group before returning to Paris in 1965. For the Manu 76 album, we are - obviously - in 1976, still in Paris. Four years after his international breakthrough with his hit Soul Makossa, Manu assembled a prestigious cast of musicians including Jo Tongo on bass, Slim Pezin on guitar, Lucien Dobat (from Kassav) on drums, Alex Francfort on piano and 7-year-old Georgia Dibango as guest vocalist.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

Am 28. Juni wird Sub Pop das fünfte und bisher kühnste Album von Washed Out veröffentlichen: „Notes From a Quiet Life“. Die Musik von Washed Out kreierte schon immer eine Art zeitlosen Schwebezustand, mit eindringlichem, amorphem Gesang, weitläufigen Klanglandschaften und wehmütigen Erzählungen. 2021 verließ Ernest Greene, die kreative Kraft hinter Washed Out, die Stadt Atlanta, um in die ländliche Gegend zurückzukehren, in der er aufgewachsen war. Wo früher Eskapismus seine Gedanken durchflutete, beschäftigt er sich heute mit dem Universum der Wunder in der Realität um ihn herum. Die ehemalige Pferdefarm, auf die er gezogen ist, hat er "Endymion" genannt (nach dem pastoralen Gedicht von John Keats über einen von Liebeskummer geplagten Hirten, dessen erste Zeile lautet: "A thing of beauty is a joy for ever"). Sie hat alles geprägt, was er dort geschaffen hat, von seiner Musik über die kreative Ausrichtung des Albums bis hin zu seinen geplanten groß angelegten Experimenten in der bildenden Kunst. Diese Reinheit der Vision ist es, die „Notes From a Quiet Life“ so wirkungsvoll macht. Es ist das erste Album, das Greene komplett selbst produziert hat, mit Unterstützung von Nathan Boddy (James Blake, Mura Masa) und David Wrench (Caribou, Florence + the Machine). Für das Musikvideo zur Leadsingle „The Hardest Part" holte Greene den multidisziplinären Künstler, Autor und Regisseur Paul Trillo ins Boot. Das Video wurde mit Sora von OpenAI erstellt und ist die erste Zusammenarbeit zwischen einem Musiker und einem Filmemacher, die vollständig mit dieser neuen Technologie realisiert wurde.

Stranger In This Town is the first solo studio album by Richie Sambora, the guitarist from Bon Jovi. The 10 tracks on the album feature a more blues-oriented sound, where Richie sings lead vocals and provides the guitars, with help from Bon Jovi mates Tico Torres on drums, David Bryan on keyboards with a guest appearance by Eric Clapton on the track "Mr. Bluesman". Singles from the album were “Ballad Of Youth", "One Light Burning", and "Stranger In This Town". "Mr. Bluesman" appeared only as a promo single.

Formed by drummer Bill Curtis in 1970 the Fatback Band signed to Perception Records who issued this debut album in America in 1972.

Recorded at Blue Rock Studio in New York, “Let’s Do It Again” featuring the soon to be patented Fatback sound, the album included originals like ‘Street Dance’ – that became a Billboard R&B hit in 1973 – ‘Free Form’, ‘Take A Ride (On The Soul Train)’ , ‘Give Me One More Chance’, ‘Goin’ To See My Baby’ and the title track. There were also cover versions of Jimmy Webb’s ‘Wichita Lineman’, David Gates ‘Baby I’m A Want You’ and the evergreen ‘Green Green Grass Of Home’.

“Let’s Do It Again” has been out of print for many years and Ace are delighted to be reissuing it on vinyl – with the full cooperation of Fatback founder Bill Curtis.

Enjoy The Toons Records in conjunction with WaterTower Records, WB Games & DC Comics proudly presents Best of Batman: Arkham Knight, Music by Nick Arundel and David Buckley.

Curated by the games' composer, Nick Arundel, Best of Batman: Arkham Knight consists of 15 tracks from the 2015 video game. Each record comes housed in a 350gsm jacket with black inner sleeves and black flood printing inside the sleeve. Included with each record is a 12" x 24" foldout insert, featuring a collage of the game's main characters on one side, with a grand scale view of Arkham City on the other.

Best of Batman: Arkham Knight is a limited edition pressing.

Enjoy The Toons Records in conjunction with WaterTower Records, WB Games & DC Comics proudly presents Best of Batman: Arkham Knight, Music by Nick Arundel and David Buckley.

Curated by the games' composer, Nick Arundel, Best of Batman: Arkham Knight consists of 15 tracks from the 2015 video game. Each record comes housed in a 350gsm jacket with black inner sleeves and black flood printing inside the sleeve. Included with each record is a 12" x 24" foldout insert, featuring a collage of the game's main characters on one side, with a grand scale view of Arkham City on the other.

Best of Batman: Arkham Knight is a limited edition pressing.

"Multiplatinum hitmakers Fastball are remembering it's okay to have hits. Reflecting on their meteoric rise with chart-topping debut “The Way,” guitarist/vocalist Miles Zuniga wryly remarks, “I like to say that ‘The Way’ gave us the freedom to continue doing what we do.”

And what Fastball does is write hits. Their latest, Sonic Ranch, produced by David Garza (Fiona Apple) and John Fields (Demi Lovato, Miley Cyrus), is ten sing-along gems, combining pop smarts & the wisdom of 30 years together."

Tiny Habits were formed in Boston, MA by artists Maya Rae, Cinya Khan and Judah Mayowa. The three singer-songwriters met at Berklee College of Music and the band was born at the beginning of 2022.

They started out by sharing covers recorded in the stairwell of their dorm and posting them on social media. Focusing on beautifully intimate three-part harmonies the trio's enticing signature sound, offered exquisite, reimagined versions of songs from across a spectrum of styles and quickly drove them to viral success.

They received recognition and early support from artists as diverse as David Crosby, Marcus Mumford, Phoebe Bridgers, and Noah Kahan. Collaborations include work with Mark Ronson, JP Saxe and Lizzy McAlpine, who they supported on NPR’s Tiny Desk

Their debut EP “Tiny Things” was released in April 2023 and established them as one of “the” bands to watch in the year ahead.

In early 2023, the band opened for Gracie Abrams “Good Riddance Tour” across North America, followed by their own sold-out US “Tiny Tour” At the end of 2023, the trio opened for Noah Kahan on his “Stick Season Tour” across Europe, followed by a sold-out headline show in London. In January 2024, the band rejoined Gracie Abrams, opening for the Australian leg of her “Good Riddance Tour”. This was followed by a sold-out headline show in Melbourne and a performance at the Minetta Lane Theatre in New York with Kacey Musgraves. The New Yorker recently wrote a feature piece on the band, coining them “The Prodigies of Harmonies”.

We can't really say that Japanese jazzmen benefit (not justify in fact) from a great international fame. However, trumpet player Terumasa Hino is an exception, undoubtedly because since the 70s he has collaborated with numerous American musicians : Gary Burton, Roy Haynes, Herbie Hancock … On Into the Heaven, which was released in 1970, Terumasa Hino is surrounded by the same musicians as on Hi- Nology, released a year earlier : his brother Motohiko Hino on drums, Hiromasa Suzuki on electric piano, Kunimitsu Inaba on electric bass and Takeru Muraoka on tenor sax. The eponymous piece, which lasts more than 20 minutes, is a jazz fusion giving room to choruses and which is reminiscent of the music that Miles Davis then offered, in what we will call his "electric period". B side opens with "Love More Train", a brilliant and long hard bop song, while the album closes melancholy with the peaceful "Feeling Blues As You Are Feeling".

Music From Memory is pleased to announce the upcoming release of ‘Salt And Sugar Look The Same’, a collaborative album from Tim Koh and Sun An.

Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012.

‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens.

Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need.

Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories.

‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.

Sleeve art by Brian DeGraw, design by David McFarline.

- Legendäre experimentelle Jazz-Aufnahmen von David Lynch und Angelo Badalamenti von Anfang der 90er Jahre. - die Musik wurde versatzweise in David Lynchs Film- und Fernseharbeiten verwendet, ist aber nie als richtige Veröffentlichung erschienen. Thought Gang wurde nach der Ausstrahlung der zweiten Staffel von ,Twin Peaks" geboren, als die Hauptproduktion des Kinofilms ,Fire Walk With Me" gerade erst begonnen hatte. Das esoterische Jazz-Side-Projekt von David Lynch und Angelo Badalamenti entwickelte sich ursprünglich aus dem Slow Cool Jazz, der die ,Twin Peaks" TV Serie mitgeprägt hatte. Thought Gang erblühte zu einem experimentelleren Sound: horizontlose Aussichten auf LSD-getränkten Freejazz, geschnürt mit gesprochenen Wortnarrativen und ausgedehnten Geräuschkulissen. Der Soundtrack zu ,Fire Walk With Me" präsentierte zwei vorläufige Tracks ("A Real Indication" und "The Black Dog Runs at Night") von einem Album, das von Mai 1992 bis 1993 stückweise aufgenommen und zweieinhalb Jahrzehnte lang nicht veröffentlicht wurde. In den folgenden Jahren tauchten Fragmente und Arbeitsversionen von Thought Gang-Material immer wieder auf: in einem von Lynch geführten Adidas-Werbespot; in Szenen in ,Hotel Room", ,Mulholland Drive" und ,Inland Empire"; in gelöschten Szenen von ,Fire Walk With Me" und am meisten in Showtimes dritter Staffel von ,Twin Peaks". "Frank 2000" und "Summer Night Noise" sowie ein alternativer Instrumental-Mix von "Logic and Common Sense" unterlegen Szenen der dritten Staffel und helfen, den ausgesprochen experimentellen, rauschhaften Soundtrack der Serie zu definieren. David Lynch über Thought Gang: "It's sort of like jet-fueled jazz in a weird way, but it's all based on stories. It's Modern Music."

Neuauflage seines klassischen dritten Albums auf LP
und Expanded-CD, mit dem 5 Wochen lang auf Platz 1
der AC-Charts (und Platz 7 der Pop-Charts) stehenden
Titelsong und Gastauftritten von Mitgliedern der Eagles,
Jackson Browne, David Sanborn, John Sebastian, Phil
Everly, Tom Scott und anderen.
1979 hatte sich JD Souther schnell als vollendeter
Singer/Songwriter und Interpret etabliert - er schrieb Hits
für die Eagles, Linda Ronstadt, Bonnie Raitt und James
Taylor und lieferte zwei inzwischen unverzichtbare
Veröffentlichungen für David Geffens Asylum Records. Für
sein Debüt bei Columbia Records stellte er eine
hochkarätige Band zusammen (Waddy Wachtel an der
Gitarre, Don Grolnick am Klavier, Kenny Edwards am
Bass und Rick Marotta am Schlagzeug, dazu Danny
"Kootch" Kortchmar an der Gitarre, David Sanborn am
Altsaxophon und Dan Dugmore an Gitarre und Steel).

Wewantsounds is delighted to announce the reissue of Norio Maeda's cult classic "Rock Communication Yagibushi" released in Japan in 1970. The album has since become a Japanese Jazz Funk cornerstone and is now highly sought-after on the international DJ scene. The album reinterprets 14 traditional Japanese folk songs into jaw-dropping Jazz Funk instrumentals featuring killer arrangements by Maeda that would fit perfectly between David Axelrod and Lalo Schifrin. One of the most prolific Nippon arrangers, Norio Maeda on a par with Yuji Ohno and Kentaro Haneda and this album has long been on many collectors' wantlist. "Rock Communication Yagibushi" is reissued internationally for the first time, with newly remastered audio, original gatefold artwork and new liner notes by Paul Bowler

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

In den letzten zehn Jahren hat sich DANIEL DAVIES zu einem gefeierten Komponisten atmosphärischer, synthielastiger Instrumentalmusik entwickelt - für Film- und Fernseh-Musik, an der Seite von JOHN CARPENTER auf den "Lost Themes"-Alben des Regisseurs und auf Solo-Veröffentlichungen wie "Signals And Spies". In seinem früheren musikalischen Leben war DAVIES jedoch ein Rocker, der mit Bands wie YEAR LONG DISASTER und KARMA TO BURN durch die ganze Welt tourte. Mit seinem neuen Solo-Album "Ghost Of The Heart" kehrt DAVIES zu dem Alt-Rock-Sound zurück, den er vorübergehend beiseite gelegt hatte, und ergänzt ihn mit dem, was er beim Produzieren von Soundtracks und Instrumentalmusik gelernt hat. "Ein Rockalbum zu schreiben ist ein Ausdruck der Gefühle des Künstlers, während es bei der Vertonung eines Films darum geht, Klanglandschaften zu schaffen, die die Geschichte eines anderen ergänzen", sagt DAVIES. "Bei diesem Album wollte ich die schweren Gitarrenriffs aus meiner Rockzeit mit den atmosphärischen Synthesizerklängen verbinden, mit denen ich als Komponist experimentiert habe." Die Songs auf "Ghost Of The Heart" lassen sich nicht in ein bestimmtes Subgenre einordnen: Sie sind stimmungsvoll, schwer und ein wenig proggig, aber mit einer starken Pop-Sensibilität und viel Melodie. Das Album verrät DAVIES' Vorliebe für eingängige, zukunftsweisende Bands wie RADIOHEAD und BLUR, aber vor allem fühlt sich "Ghost Of The Heart" natürlich an, so als würde er etwas Grundlegendes über sich selbst als Musiker wiederfinden. DAVIES nahm "Ghost Of The Heart" im Laufe des Jahres 2023 mit dem Produzenten John Spiker auf, seinem langjährigen Freund und Mitarbeiter. Spiker steuert auch den Bass bei, während Matt Flynn Schlagzeug spielt. Alles andere auf der Platte wird von DAVIES selbst eingespielt.

We all hear the music of the World but we don't often stop to listen'. So says David Lyn by way of explaining the raison d'etre of his debut album The World I Hear (Essence of Life). This album is the first in a series that explores the elements of fire, earth, water and wind and focuses on the twin entities of love and water; both of which flow and ebb, trickle and crash. It is an album of songs and musical collaborations which interprets David's own visions of love as the foundation of everything. As he says, 'we all need more love'.
Releasing on the 1st of June on vinyl and digital The World I Hear (Essence of Life) will be available for pre-order from Friday 24th May with the two tracks, Drum Connection and Maria Juana, leading the release. Drum Connection has been remixed by Chicago legend and Frankie Knuckles protege Elbert Phillips whilst Maria Juana features the Ibero-Cuban artist and songwriter Arema Arega (Gilles Peterson's Havana Cultura) and the composer and producer Andrew Nicholas AKA Born74 (Earthsouls, Colin Curtis' Jazz Dance Fusion Vol. 4).
Engineered by Shamrock Guitar and mastered by Andy Compton at Peng Studios, with arrangements from Dr Bob Jones and Gee W and vocal contributions from Vuyelwa Mgatyelwa and Elena Rogozhina, The World I Hear (Essence of Life) truly is an international collaboration of music for the heart, the soul, the dance floor and the head. David Lyn, whose creative vision for this album is adulterated with his love of Jazz, Reggae and Country music, is playing the flute, clarinet, saxophone and piano and his vast experience of creating diverse DJ sets of Music Without Labels

Der begleitende Film von Dave Stekert und Xander Strohm fängt die Zeit in New York ein, als Covid 19 alles abschaltete, die Menschen Angst hatten
und nichts sicher war. Die Kreativen mussten trotzdem kreativ sein, und Jesse Malin fand einen Weg, die Menschen über seine wöchentliche
Streaming-Show "The Fine Art of Self Distancing" zu erreichen. Ein großes Publikum fand Gefallen daran, dass Jesse Geschichten erzählte, sang,
tanzte, uns zum Lachen brachte und uns wissen ließ, dass alles gut werden würde. Er lud seine Freunde ein, mit ihm über die Geschehnisse in der
Welt zu sprechen, darunter Lucinda Williams, Debbie Harry, Jimmy G, Alejandro, Bob Gruen, Craig Finn, Tommy Stinson, Fred Armisen, David Fricke,
Pete Yorn, Graham Parker, Butch Walker, Lenny Kaye, Michael Imperially, Jim Jarmusch, DMC, Uncle Floyd und Bob Strauss.
Zu den musikalischen Gästen gehören Tommy Stinson, H.R. (Bad Brains), Eugene Hutz (Gogol Bordello), Cat Popper (Puss N Boots, Jack White, Grace
Potter), David "Immy" Immerglück (Counting Crows). Sie singen die Lieder von Jesse Malin und Lieblingslieder von The Pogues, Bad Brains, The
Ramones.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

"Daylight" ist eine exzellente Kooperation des britischen Dance-Produzenten Hifi Sean mit dem Top-Vokalisten David McAlmont. Ihre berauschende Reise zelebriert und erforscht auf 12 Tracks die Farben und das Gefühl des Sommers. Es wird das erste von zwei Alben des Duos dieses Jahr sein, zusammen mit dem Schwesteralbum "Twilight", das am ersten Wintertag, dem 1. Dezember, folgt.

- Format: Neon-gelbes LP-Vinyl mit downloadbarem Booklet samt Lyrics & Fotos.

"Daylight" ist eine exzellente Kooperation des britischen Dance-Produzenten Hifi Sean mit dem Top-Vokalisten David McAlmont. Ihre berauschende Reise zelebriert und erforscht auf 12 Tracks die Farben und das Gefühl des Sommers. Es wird das erste von zwei Alben des Duos dieses Jahr sein, zusammen mit dem Schwesteralbum "Twilight", das am ersten Wintertag, dem 1. Dezember, folgt.

- Format: Neon-gelbes LP-Vinyl mit downloadbarem Booklet samt Lyrics & Fotos.

2024 sees the release of Georgia’s fourth studio album - Cool Head. Written in the year after her husband and collaborator was taken seriously ill, Georgia describes the album as a long drive through night into morning. "Cool head," a phrase her dad would always use to urge calm thinking, presents a candid and affecting collection of songs, spanning wide-open Americana to 60s- influenced folk ballads. Recorded in Sain studios, near Caernarfon, the album features contributions by Iwan Huws (Cowbois Rhos Botwnnog), Stephen Black (Sweet Baboo), Gwion Llewelyn (Aldous Harding) and Rhodri Brooks (Melin Melyn). With Gorky's Zygotic Mynci stalwart Euros Childs adding his unmistakable vocals to a couple of songs, this is a truly Welsh affair. It also features string arrangements by Gruff Ab Arwel, whose ear for melody brings a new dimension to the songs. These are performed by Angharad Davies, Angharad Jenkins and Patrick Rimes. The album is co-produced with long-time collaborator Iwan Morgan

Bereits 2012 von den Balfour-Brüdern Ryan und David gegründet, konnten sich MAVERICK aus Belfast, Nordirland schnell in der Szene etablieren. Mit ihrem ersten Album „Quid Pro Quo“ tourten sie gemeinsam mit den schwedischen Hardrock-Stars THE POODLES durch Europa. Mit dem zweiten Album „Big Red“ war der Fünfer mit den schwedischen Superstars TREAT unterwegs. Sie spielten u.a. auch auf Festivals wie dem H.E.A.T FESTIVAL (Deutschland), ICE ROCK und ROCKNACHT TENNWIL (Schweiz), WILDFEST (Belgien) und ROCKINGHAM in Großbritannien, was ihnen dabei half ihre
schon solide Fangemeinde weiter massiv zu vergrößern! Das nächste MAVERICK Album „Cold Star Dancer“ wurde 2018 veröffentlicht. Es erhielt ebenfalls beste Kritiken von der internationalen Presse und die Band spielte ihre erste Headliner-Tour durch Europa. Zudem spielte man mehrere Shows mit den schwedischen Glam-Rockern CRASHDIET. Ein Highlight war das Schweizer ROCK THE RING Festival wo sie zusammen mit WHITESNAKE,
TESLA und DEF LEPPARD auftraten. Im Jahr 2021 veröffentlichten sie das wieder vielbeachtete und überdurchschnittlich rezensierte Album
„Ethereality“. Aufgrund der Pandemie und deren Folgen konnten sie dieses Album aber leider nicht wirklich auf die Bühne bringen. „SILVER TONGUE“ ist das 5. Album der Band und das erste Lebenszeichen vom neuen Album war die bereits 2023 erschienene Coverversion des STEELHEART respektive STEEL DRAGON Hits „We All Die Young“ aus dem Blockbuster „Rock Star“, welche als
onustrack auf der CD enthalten ist. MAVERICK sind zurück, stärker als je zuvor und beginnen mit „SILVER TONGUE“ eine neue erfolgreiche Ära!

Eurovision Song Contest: The Story Of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star in the film. ""Volcano Man"" was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a ""Song-A-Long"", producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybalk. The album also features the cult hit “Jaja Ding Dong”. The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards. The soundtrack from Eurovision: The Story Of Fire Saga is available on black vinyl and contains a 4-page booklet and printed innersleeve with movie stills.

ESCAPE MUSIC PRESS RELEASE first album entitled ‘Power’. Atlantic was never supposed to be a long term band and following its worldwide release Simon moved on to other writing, recording, production and mix projects. In the late nineties Simon met Mark Grimmett. He recorded several songs with Mark over the following few years and they decided at some point they would make a record together. Fast forward to 2021 Mark was talking to Simon about writing and recording a new album. Originally entitled the MGB Band, work started in the fall of 2021 … By early 2022 they had written a number of songs and they both felt they would best suit a new album under the Atlantic banner. Several members of Grim Reaper were recruited to give the Album an edge, whilst retaining the essential melodic rock/Aor feel that is Atlantic. Mark Pullin, Julian D.Hill and Ian Nash were duly recruited into the band along with keyboardist Gareth David Noon from Serpentine .. The lineup was to change later in the project with Simon and Tim Bristow taking over the keyboard role and the addition of Nick Burr and Andy Margrett on lead guitar. Work continued over the next year and finally the production was completed in late 2023. Mark Pullin stepped up to mix the album after some unforeseen issues at Simon’s studio and it was completed in March 2024. Escape Music had re released the original Power album and were absolutely the first choice to work with on the new album. Their new album “Another World” will be released exclusively by Escape Music, exciting times

"What Occurs", is Islands' 10th album. It was recorded, mixed and mastered entirely on Vancouver Island, the birthplace of Islands' songwriter Nick Thorburn and his first record made on the island. The album functions like a collection of short stories, each song telling a different tale: A man steals a billionaire's painting, ("David Geffen's Jackson Pollock"), a woman is terrified of intimacy but great at dancing ("Arachnophobia"), and a lovelorn loser does everything wrong ("Drown A Fish").

Zur Jubiläums-Europatour der Australier der Nachfolger des 2018er-Comebacks "Loudmouth Soup" von 2021, jetzt erstmals in europäischer Pressung! Astreines pissgelbes Vinyl, sorgfältig eingefärbt von Subway Records. In ihrer 40-jährigen Karriere haben die Cosmic Psychos absolute Hymnen aufgenommen: 'Hooray Fuck', 'David Lee Roth', 'Down on the Farm', 'Go the Hack', 'Nice Day to Go to the Pub', 'Fuckwit City' und viele mehr. Und das 2021er Album enthält viele Songs, die bei den kommenden Konzerten gespielt und gesungen werden. Die Psychos wurden in den frühen 80er Jahren in Melbourne gegründet und sind immer noch aktiv. Sie wurden von der Punk-Gemeinde in Australien und im Ausland begeistert aufgenommen und erreichen nun eine neue Generation von Fans. Wie die Ramones, Motorhead und AC/DC haben sie eine Formel, die seit 40 Jahren funktioniert: Songs über Alkohol, Mädchen und Landwirtschaft, gespielt in einem frenetischen Tempo. Mountain of Piss macht da keine Ausnahme, und genau das ist das Tolle daran! Die Höhepunkte von Mountain of Piss sind der Titelsong, in dem es darum geht, für Australien einen Berg von Pisse zu erobern, und Sin Bin, in dem es um schwachsinnige Fußballer geht, sowie die Stücke Dickson und Munted. Aber der Mid-Tempo-Country-Song Too Old to Drink in Pubs" ist das wahre Juwel des Albums. Genial ist auch das vom Mount Rushmore inspirierte Cover, auf dem die Gesichter der Cosmic Psychos mit Hilfe eines Stapels von Holzgegenständen in einen Berghang "gemeißelt" wurden. 500 Stück für Europa!

(Clear with black, white & yellow splatter limited to 500 copies) SKA DREAM is a complete re-recording of Jeff Rosenstock's critically-acclaimed 2020 record NO DREAM however this time around all the songs are ska songs you're welcome. The very good idea to make this record came together when, like many other bands throughout this pandemic that refused to participate in super spreading events, we were trying to find a fun way to make some music together to share with people. Otherwise we were just spending our evenings texting the group chat in dread about the collapsing world around us. Not the most fun band activity. As with most things ska in my life, what started out as a fun goof with friends eventually morphed into "Hey, what if we tried to make it good though?" All of us have a pretty deep history playing and touring the country in punk/ska bands. We all understand the stigma that comes along with ska, we've all dealt with the pitfalls of it, and we've all kept on truckin' regardless. If you are one of those people who loves music as long as it isn't ska, that's cool, we see you. This record isn't for you and you don't have to listen to it. Byeeee. Okay, everyone else, we see you too, we love you and check it out, SKA DREAM is real. This record includes contributions from Jer Hunter (JER, Skatune Network, We Are The Union), Rick Johnson (Mustard Plug), Laura Stevenson, Ara Babajian (The Slackers, Leftover Crack), Boboso, Sean Bonnette (AJJ), George Clarke (Deafheaven), David Combs (Bad Moves), Chris Farren, Augusta Koch (Gladie, Cayetana), Angelo Moore (Fishbone), Franz Nicolay, nonregla, Elise Okusami (Oceanator), Mike Park (Bruce Lee Band, Skankin Pickle, Asian Man Records), PUP, Anika Pyle (Katie Ellen, Chumped) & Shannon Toombes.

Malcolm McLaren, New York Dolls and Sex Pistols’ manager, writer, musician, fashion designer, marked the history of pop culture. His album “Paris” released in 1994 on the French Vogue label was produced by Robin Millar (Sade, The Style Council, Everything But The Girl). This is the first time the album has been available on vinyl and arrives a few weeks before the opening of Paris Olympic Games which should see lead track ‘Paris Paris’ with Catherine Devenue on vocals widely referenced. Also features Francoise Hardy & Amina. This is a x19 trk double Black LP Vinyl in gatefold sleeve. Promo & marketing activity..

Rock n Roll Star! zeichnet Bowies Weg zu Ziggy Stardust nach. Angefangen bei frühen Demos für zu Hause, über Radiosessions und Live-Auftritte bis hin zu Session-Aufnahmen, Outtakes und alternativen Versionen von den Aufnahmen zum Album The Rise and Fall of Ziggy Stardust ROCK 'N' ROLL STAR! enthält 29 unveröffentlichte Tracks, darunter frühe Songwriting-Demos, Aufnahmen von Davids Band The Arnold Corns, Proben in Bowies damaligem Zuhause Haddon Hall, BBC-Sessions, Singles, Live-Auftritte sowie Outtakes und alternative Versionen von den Original-Aufnahmesessions des Albums, die vom ursprünglichen Album-Produzenten Ken Scott neu gemischt wurden. Zu den unveröffentlichten Highlights gehören eine alternative Version von "Lady Stardust", eine ungehörte Version des Deep-Cut-Klassikers "Shadow Man" und eine Up-Tempo-Aufnahme von The Who's "I Can't Explain", die er später verlangsamt und für das PIN-UPS-Album gecovert hat. Die reine Audio-Blu-Ray enthält das definitive Remaster des Original-Ziggy Stardust-Albums aus dem Jahr 2012 in 96kHz/24bit PCM Stereo, das Album und zusätzliche Mixe aus dem Jahr 2003 in DTS-HD Master Audio 5.1 sowie die Singles, Outtakes und alternative Versionen in 96kHz/24bit PCM Stereo. Die Blu-Ray enthält außerdem eine Version des ZIGGY STARDUST-Albums namens WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH), die von Trident Studio-Bändern vom 15. Dezember 1971 stammt und eine alternative Reihenfolge sowie vier Songs enthält, die es nicht auf das endgültige Album geschafft haben. Diese wird auch als limitierte Vinyl-LP am 20. April 2024 zum Record Store Day erhältlich sein. Außerdem gibt es eine 1-LP-Version von ROCK 'N' ROLL STAR! mit den alternativen Aufnahmen und Abmischungen.

Repress! Now-Again Records is completing the trilogy started with "Forge Your Own Chains" and followed by "Tickets for Doomsday" with "Pale Shades Of Grey" - another batch of rare, largely uncompiled - and sometimes barely heard - heavy psych-rock. Pounding drums, scathing fuzz guitar and morose, contemplative lyrics will bring you up on a downer. "Pale Shades Of Grey," as the title hints, is and perhaps the most contemplative of the series, heavy on ruminations of dark themes of love, death, pain and triumph, as performed by high school and college bands, Brasilian intellectuals, Nigerian rockers and even an Irish pub band from Michigan. A unique and compelling listen, and surely a worthy companion for these times.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

Electronic music composer David Morley returns to De:tuned with the live recorded 'Fashion' EP. In the early 90s Belgian fashion designer Dirk Bikkembergs reached out to David Morley to ask if he could create a special piece of music for the Paris Fashion Week. The 'Fashion - Show' DAT tape recording radiates the energy of David's thrilling live performance and captures an exciting synergy of art and music during an era that shaped an entire generation.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Electronic music composer David Morley returns to De:tuned with the live recorded 'Fashion' EP. In the early 90s Belgian fashion designer Dirk Bikkembergs reached out to David Morley to ask if he could create a special piece of music for the Paris Fashion Week. The 'Fashion - Show' DAT tape recording radiates the energy of David's thrilling live performance and captures an exciting synergy of art and music during an era that shaped an entire generation.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Released in 1982, 'Song of the Bailing Man' is an ‘inspired, invigorating, confounding, disturbing... yeah, one hell of a swinging way to go. Still the futility Ubu must have felt making far sighted music in a chronically near-sighted world is pressed hard into these grooves.’ (Melody Maker, David Fricke

The Men They Couldn’t Hang are a British folk punk group formed in 1984. The band were well known in the UK punk scene, sharing connections with David Bowie, The Pogues and Stiff Little Fingers. Silver Town is their fourth studio album, originally released in 1989. Several singles were released from the album, including “A Place in the Sun” and “Rain Steam & Speed”. “Rosettes” was meant to be released as a single as well, but it was cancelled after the Hillsbourough disaster, as the song discusses hooligan culture.

Silver Town is available as a very limited edition of only 500 individually
numbered copies on flaming coloured vinyl.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

Hailing from Toronto, the dynamic indie rock quintet, Good Kid, comprises lead vocalist Nick Frost, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, who thrives as a vibrant community fueled by the boundless enthusiasm of its listeners. Their eclectic blend of J-rock, indie-rock and pop-punk resonates with high-energy riffs, catchy melodies and clever lyricism.

A jack-of-all-trades ensemble - musicians, programmers and storytellers, Good Kid has carved a unique path for their audience to follow suit. Good Kid's fanbase is not just passive listeners; they are a passionate community, actively contributing to the band's universe. Through platforms like Discord and Iwitch, as well as their strong social media presence, fans create art, animation, videos and covers, reflecting their profound connection to the music. The band's journey is marked by streaming successes with the release of "From the Start" on November 10th, 2023, hitting 1 million streams in just 24 hours, accumulating several million streams and counting. Their reach extends to leading YouTube and Iwitch accounts in the gaming space, aligning them with top content creators

and gamers. Their energetic performances have not only led to two-sold out headline US tours in 2022, but have included supporting sold-out UK and EU tours, as well as a nationwide run on Portugal the Man's Canada tour.

Hailing from Toronto, the dynamic indie rock quintet, Good Kid, comprises lead vocalist Nick Frosst, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, who thrives as a vibrant community fueled by the boundless enthusiasm of its listeners. Their eclectic blend of J-rock, indie-rock and pop-punk resonates with high-energy riffs, catchy melodies and clever lyricism.

The Gloss is the second album from Cola. From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. But the results are the right combination of lightheartedness and sincerity. Romanticism is never far from laughter, and equally never far from righteous anger in the music of Cola: “Pulling quotes now in the dark/Our outlook is restrained/Your tongue might weaken to be-fit your smile/Til nothing ill remains.” ‘nuff said. It's an album bursting with energy and wit and ideas–filled to the margins.

"15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself."

At the frayed bottom-edge of Indiana - just a moderate bike ride north of Louisville, Kentucky - multi-instrumentalist, artist and songwriter Ryan Davis' Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper 'solo' release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It's a pure collage of modernity and heritage. Recorded in early 2023 with help both in-studio and remotely from peers like Joan Shelley, Catherine Irwin (Freakwater), Will Lawrence (Felice Brothers, Gun Outfit, John Early), Jenny Rose (Giving Up), Christopher May (Mail the Horse), Elisabeth Fuchsia (Footings, Bonnie "Prince" Billy), and Aaron Rosenblum (Son of Earth, Sapat), the results herein are melancholic, gentle, minimal yet colorful in mood: a lilting highway accompaniment of crisp instrumentation and a relaxed, amiable approach to vocals with rhapsodic wordsmithery. Fans of the aforementioned artists as well as those of Souled American, David Berman, Kurt Vile and 'Comes A Time'-era Neil should all easily find bounty. While bare-boned and uncluttered in presentation, many of these pieces track over 6 minutes allowing a fair amount of expansiveness. Dancing On The Edge stares down into the navel of the American Experience underbelly with a fair amount of outward reach. Besides the Kosmische-synth and violin stabs reaching into a European element, stately organ swells build a musical bridge between 1969 Southern California and Felt's latter era smooth moves, with layers of intelligent gesture taking this well beyond the realm of its archetypal indie troubadour/acoustic songwriter tag. Music and mint juleps never went down so well together." Originally released via Ryan's own label, Sophomore Lounge, in the US late 2023, it picked up some incredible reviews: best of 2023 in both Pitchfork and Rolling Stone, 9/10 lead review in Uncut, and a raft of other notable publications. "This is the sound of someone bearing a torch." - Bill Callahan (Smog) - RIYL Silver Jews, BPB, Lambchop, Cass McCoombs, Sparklehorse.

Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group's dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group's diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet.

Green vinyl, limited to 350 copies. Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group's dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group's diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet.

"Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their 2021 Grammy Award–winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Simple Part, with Shaw on vocals backed by Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstance. Sō and Shaw’s upcoming performances will be announced soon.

Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.

“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback,” Sliwinski says. “For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode and ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to her albums with Sō, Nonesuch has released her two Grammy-winning albums Orange (2019) and Evergreen (2022), both of which feature Attacca Quartet. ‘Two-Step’, the first of Shaw’s songs with Ringdown, her duo with Danni Lee, to be released on Nonesuch is available now.

For twenty years and counting, Sō Percussion has redefined chamber music for the twenty-first century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (New Yorker). Their commitment to the creation and amplification of new work, and their extraordinary powers of perception and communication, have made them trusted partners for composers including David Lang, Julia Wolfe, Nathalie Joachim, Bryce Dessner, Dan Trueman, Kendall K. Williams, Angélica Negrón, Shodekeh Talifero, claire rousay, Leilehua Lanzilotti, Bora Yoon, Olivier Tarpaga, and many others. Sō has recorded more than twenty-five albums, including a performance of Steve Reich’s Mallet Quartet on the Nonesuch record WTC 9/11. Its members are the Edward T. Cone performers-in-residence at Princeton University. Sō Percussion’s educational and community work includes the Sō Laboratories concert series and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers.
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One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.



There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.



Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album Bitches Brew.



But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.



Her 1974 sophomore album They Say I’m Different features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”

With Pere Ubu on hiatus since 1982’s excellent ‘Song Of The Bailing Man’, David Thomas had recorded a` much-praised solo album and the band had now signed to a major label. In a period of rampant world commercialism, what would happen next? Another crucial era for the band unravelled, Pere Ubu’s journey charted new undulating territory and so began a three-album escapade that retooled our understanding of what pop music is. “Solid as the band can be, it's also likely to dissolve songs from the bottom up. For all Pere Ubu's uncertainty, the band isn't arbitrary; its music has the off-the-wall unity of a Marx Brothers routine,” said Jon Pareles of The New York Times. In 1991, ‘Worlds In Collision’ became “the most atmospheric, carefully sculpted recording in the band's 13-album catalog.” (Tom Moon, Spin).

Noelle & The Deserters bring South-Western honky tonk and songs of heartbreak from the high deserts of New Mexico to the golden hills of California. Fronted by singer-songwriter Noelle Fiore, their music draws inspiration from the likes of Emmylou Harris, Loretta Lynn, Marty Robbins, J.J Cale, Gene Clark, Townes Van Zandt, and the great outlaw country players. The Deserters include seasoned players Graham Norwood (Bryan Scary, Graham Norwood) on guitar, Alicia Vanden Heuvel (The Aislers Set) on bass, David Cuetter (Tarnation) on pedal steel, and Jerry Fiore (Sonic Love Affair)on drums, all based in the Bay Area and Sacramento. Fiore was raised in Taos, New Mexico. As a guitar player and vocalist, she was a founding member of Sweet Chariot, singing and playing guitar / banjo. Later, she and Tim Cohen (The Fresh & Onlys) founded the band Magic Trick, recording four full length albums for labels Hardly Art and Captured Tracks. Fiore is also a current member of the Shannon Shaw Band, on guitar and vocals. High Desert Daydream is Noelle & The Deserters debut album, out on Speakeasy Studios SF. The songs on the album, written by Fiore, touch on life in the west, growing up in Taos, living in California, songs of love, memory, marriage, work, good times, and bad times. Like all classic country music, the songs are infused with a sense of real-life struggles and living life in the everyday. Fiore’s incredible voice carries the album, and her songs are at once moving, powerful, tender, humorous, and intimately relatable. Produced by Noelle Fiore and Alicia Vanden Heuvel, High Desert Daydream feels country, yet of the west, of California and New Mexico, of experimental fronts in country music, and is truly a work of beauty.

Tracks

Tomorrowland Music kündigt ’TOMORROWLAND 2024 - LIFE - OFFICIAL COMPILATION’ an. Erlebe die Euphorie des diesjährigen Tomorrowland-Mottos „LIFE“ bequem von zu Hause aus, mit exklusiven Tracks und erweiterten Versionen, die für DJs und Musikliebhaber gleichermaßen geeignet sind. Mit einer handverlesenen Auswahl aktueller Singles von einigen der größten Namen der elektronischen Musik, darunter Lost Frequencies, David Guetta, Alok, Dimitri Vegas & Like Mike, Martin Garrix, Alesso und einige der größten Club-Hits des Augenblicks, wie Zerb (Mwaki), Alex Wann (Milkshake 20). Von erhebenden Melodien bis hin zu herzzerreißenden Beats ist jeder Track ein Zeugnis für die Einheit, Freude und Vielfalt, die auf dem Tomorrowland gefeiert wird. Jedes Vinyl ist ein Sammlerstück, reich an ästhetischen Details und angereichert mit luxuriösen Verpackungselementen, die durch ein atemberaubendes Artwork aufgewertet werden.

Irish producer Balmr lands on Selections after nice outings on the likes of Sofa Movement Records, Kolour Detroit and Expanded Records which have all established him as a fresh deep house artist. His love for the Motor City shines through again here with the warm, dubby drums and swirling pads of 'In Search Of' bring to mind the Midwest's best. Jon Dixon remixes with a little extra bite in the percussion and 'Forager' then layers up more dusty drums and wooden hits with diffuse synth curlicues. It's a sound that works on both head and heel and lastly, Glenn Davis remixes with a touch of jazzy cosmic class to his synth work.

BAR 25 turns 200 and presents an incredibly good compilation. do not sleep on this one!