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DREAMLESS VEIL make their debut with the new album, Every Limb of the Flood. The band, featuring members of INTER ARMA, ARTIFICIAL BRAIN, and PSYCROPTIC manifest terrifying Blackened Extreme Metal and offer one of the year's most haunting releases. Every Limb of the Flood is a concept album. Through tracks such as "A Generation of Eyes", "Saturnism", and "Cyanide Mine" Vocalist Mike Paparo and co. task the listener to consider what it would be like for an individual to fully disappear. DREAMLESS VEIL delves into this murk through 8 tracks - dramatic swells, melodic crescendos, and abrasive blast-beat poundings make way to more introspective moments ultimately resulting in pure horror. Paparo explores the concept of corporeal disintegration with pained shrieks and disembodied bellows, resulting in one of the most unchained performances of his storied career. Lyrics for the record show, but don't tell. DREAMLESS VEIL's concept alludes to misery leading to grotesquery - The opener "Dim Golden Rave" throws the listener into an ambiguous time and place: "Grief, spiritless, collapses against the filth-ridden street". The second track, "A Generation of Eyes" follows this narrative by invoking Neil Young, quoting him to the extent of "rust never sleeps." What ensues is a grief so powerful it decomposes from within. The end result manifests in the album closer "Dreamless" - the body is now fully discarded, hinting at a possible enlightenment through a horrible, gruesome process. Sonically, Every Limb of the Flood is a caustic, corrosive journey. Critically acclaimed drummer David Haley flexes some of his most creative drum work to date, dragging the listener through wild tempo changes, breakneck speeds that come to sudden halts, while guitarist Dan Gargiulo (ARTIFICIAL BRAIN) interweaves disorienting guitar madness. Recorded by Brett Bamberger (REVOCATION) Every Limb of the Flood was mixed by Gargiulo and mastered by Colin Marston (Gorguts, Krallice, and more.)

For as much as Sammy Rae & The Friends may be a band, this collective of dreamers and artists considers themselves a family first. That all-for-one and one-for-all camaraderie ignites their unforgettable and can’t-miss live shows, which serve as a catharsis for both the musicians and their fervent audience. Fronted by singer/songwriter Sammy Rae and honed through years of touring, the group is capable of flourishing in any spotlight thanks to its signature blend of palpable chemistry, deft virtuosity, and vocal fireworks.

Their sound, which has attracted new fans by the thousands in the past few years, is a unique mélange of Sammy’s influences: classic rock, folk and funk and sprinkled with soul and jazz. Rae has been building toward this moment since moving to NYC from Connecticut in her early 20s. Finding herself without a built-in peer group, she simply built it herself: the literal and proverbial Friends. When she started playing shows, she made sure the audience was part of the family too. Everything that’s happened since, from the EPs The Good Life (2018) and Let’s Throw a Party (2021) to sold-out shows in major markets and secondary markets alike across North America and the UK & Europe, to high-profile festival sets around the world, including Bonnaroo’s main stage, Sound on Sound and more, has been based on friends telling friends. As they prepare for the release of their long-awaited debut full-length album in 2024, Something for Everybody, Sammy Rae & The Friends have come to represent more than just a band: they are a full-on movement being adopted with a refreshingly diverse clientele.

Signed to Island Records, his Iggy Pop/Jim Morrison side was cultivated, the weirdness dialled down, leathers were worn and a rock'n'roll microphone stand was utilised. The lead track "World Shut Your Mouth" gave Cope his first solo UK Top 20 hit, a big, brash slice of garage rock, it was a post-punk equivalent to David Bowie returning with Let's Dance; simple, straightforward. Backed by what Cope called his 'two-car garage band', the album reached No 11 in the UK chart, his highest placing to date whether solo or in The Teardrop Explodes, it also entered the US Billboard Hot 200. It's not all straight-ahead stomp, the eight minute closer "A Crack In The Clouds" harks back to the Teardrop Explodes' Wilder, and Kate St. John's oboe on the title track evokes his Mercury albums. Released in March 1987, Saint Julian was seen as a storming return to form for Julian Cope - This re-issue faithfully replicates the original 1987 Mercury Records UK release and is pressed onto high quality 180g vinyl.

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

They say you should never meet your heroes, but for Mike, meeting the legendary Adrian Sherwood has been a transformative experience, leading to creative collaborations that have benefited both of them.

Nearly 30 years after first being mesmerized by OnU Sound’s releases, a cheeky bit of radio ripping serendipitously led to Mike helping Pats Dokter, the label’s official archivist, with his work restoring master tapes, and eventually to him creating visual content for Adrian’s live shows.

A while after this collaboration began, Adrian offered to remix some of Mike’s music, either by his solo project @misledconvoy or our tunes, and it’s four cuts by us that grace this heavyweight platter.

From the dreamy dub of Transient Transmission to the rolling rhythms of A Doubtful Sound, our originals have been re-arranged and dubbed to $%># in Adrian’s signature style, with fluid melodies, pounding basslines and vocal samples awash in a wall of effects.

Trumpets by David “Ital Horns” Fullwood bookend the release, haunting in the first track and celebratory in the last, while Doug Wimbish (Tackhead) added an extra bassline to the heaving version of 1000 Mile Drift, which also features the voice of the iconic Lee “Scratch” Perry.

Reflecting on the collaboration, Mike says, “the whole experience has been slightly unreal, from working on Adrian’s videos to being in the OnU studio and watching him dub-mixing the tracks I’ve made, something I could never have imagined happening!”

Mike isn’t the only OnU fan, as a pivotal moment for Paddy was “watching Adrian mixing Tack>head at the Powerstation in 1995 and seeing the cause-and-effect of what he was doing and hearing the unbelievable sounds coming out of the speakers. It was the first time I’d ever seen somebody dub mix like that.”

The cover of Echoes of the Night is based upon an original artwork by Hamish Macaulay, while the vinyl has been pressed using a 100% recycled compound known as eco-mix, making each record totally unique as the colours subtly change across the pressing run.

The Jesus Lizard sind zurück mit 'Rack', ihrem ersten Album seit 1998. Das Album enthält 11 Tracks mit flottem Gitarrenrock, wie man ihn nicht mehr gehört hat seit... seit The Jesus Lizard das letzte Mal eine Bühne in deiner Stadt erobert haben. The Jesus Lizard - Sänger David Yow, Gitarrist Duane Denison, Bassist David Wm. Sims und Schlagzeuger Mac McNeilly - sind zurück mit einem Album, das vor der Art von Verrücktheit nur so strotzt, die nötig ist, um die heutige AOR-Mittelmäßigkeit und den piss-perfekten Pop-Schwachsinn gleichermaßen zu besiegen.

Seit ihrer Gründung 1987 in Chicago haben The Jesus Lizard Zuhörer auf der ganzen Welt begeistert. Die tadellose, raketenartige Rhythmussektion von Sims und McNeilly war die perfekte Basis für Denisons zackiges, aber dennoch sauberes Riffing und Yows launischen Gesang, der sich als panischer Bürger, Realitätsflüchtling oder verletzter Meeressäuger manifestierte. Auf das Debütalbum folgten sechs weitere Studioalben, zwei Live-Aufnahmen sowie zwei Singles und EPs.

Auf 'Rack' kehren The Jesus Lizard neu formiert, erfrischt und voller Elan zurück. Keine lauen, faden Tracks, die zeigen, wie sie als Songwriter 'gereift' sind. Keine albernen Ausflüge in unnötige Genreübungen.

The Jesus Lizard. Sie sind vielleicht nicht mehr jung, aber sie werden nie, nie alt.

The Jesus Lizard sind zurück mit 'Rack', ihrem ersten Album seit 1998. Das Album enthält 11 Tracks mit flottem Gitarrenrock, wie man ihn nicht mehr gehört hat seit... seit The Jesus Lizard das letzte Mal eine Bühne in deiner Stadt erobert haben. The Jesus Lizard - Sänger David Yow, Gitarrist Duane Denison, Bassist David Wm. Sims und Schlagzeuger Mac McNeilly - sind zurück mit einem Album, das vor der Art von Verrücktheit nur so strotzt, die nötig ist, um die heutige AOR-Mittelmäßigkeit und den piss-perfekten Pop-Schwachsinn gleichermaßen zu besiegen.

Seit ihrer Gründung 1987 in Chicago haben The Jesus Lizard Zuhörer auf der ganzen Welt begeistert. Die tadellose, raketenartige Rhythmussektion von Sims und McNeilly war die perfekte Basis für Denisons zackiges, aber dennoch sauberes Riffing und Yows launischen Gesang, der sich als panischer Bürger, Realitätsflüchtling oder verletzter Meeressäuger manifestierte. Auf das Debütalbum folgten sechs weitere Studioalben, zwei Live-Aufnahmen sowie zwei Singles und EPs.

Auf 'Rack' kehren The Jesus Lizard neu formiert, erfrischt und voller Elan zurück. Keine lauen, faden Tracks, die zeigen, wie sie als Songwriter 'gereift' sind. Keine albernen Ausflüge in unnötige Genreübungen.

The Jesus Lizard. Sie sind vielleicht nicht mehr jung, aber sie werden nie, nie alt.

Even though it came out on a major label, this record sells for hundreds of dollars if you can find it at all (we know…we paid for a copy), and it’s no wonder… it’s the perfect blend of raw R&B passion and smooth, sophisticated soul production. First, the passion part… Willie Tee was a New Orleans pianist and singer best known for recording a series of burnin’ 45s (some cut for Harold Battiste’s short-lived AFO label) during the ‘60s. I’m Only a Man was Willie’s album debut, cut for Capitol in 1970, and he brought the same deep-seated intensity to the record that he did his singles. The difference was, for I’m Only a Man, Willie’s warm, raspy voice was lovingly bathed in spectacular arrangements by H. B. Barnum and produced by the great David Axelrod. Strings, brass, xylophone, bluesy guitar licks, and a funky rhythm section are all percolating inside this record’s grooves, with a daring choice of material that ranges from Cannonball Adderley’s “Walk Tall” to the Bacharach-David nugget “Reach Out for Me” to the self-penned highlights “Mirror” and “Bring On the Heartaches” to the album closer “People” from Funny Girl. Capitol wasn’t known for breaking soul acts at the time, which may explain why this record remains a cult classic; we’re happy to give it the exposure it deserves, with a purple vinyl pressing limited to 1000 copies.

Eine Sammlung für M. Ward-Fans jeden Jahrgangs. "For Beginners: The Best Of M. Ward" versammelt 14 Tracks aus seiner gesamten Merge Records Discografie, einschließlich des neu aufgenommenen Songs "Cry". "For Beginners" ist sowohl eine Fibel und ein Mixtape mit Lieblingsstücken. Die Reihenfolge der Songs ist so ausgetüftelt, dass ihnen neues Leben eingehaucht wird. Beginnend mit "Chinese Translation" und "Poison Cup" vom 2006 erschienenen Album "Post-War", zeigt "For Beginners", wie Ward sein Können im Studio ausbaut. Seine einzigartige Coverversion von David Bowies "Let's Dance", aus dem 2003er Album "Transfiguration of Vincent", geht über in das überschwängliche "Never Had Nobody Like You" vom 2009er Album "Hold Time". Anstatt einer sauberen Entwicklungslinie, die ein chronologisches Arrangement suggeriert, ist das, was "For Beginners" zusammenhält, ist Wards tadelloses Können als Songwriter, das im Fokus bleibt während sich sein Sound von Low-Fi-Heimaufnahmen zu elektrischen, radiotauglichen Stompern und wieder zurück bewegt. Pünktlich zum 35-jährigen Jubiläum von Merge Records wird dieses Album eines der beliebtesten Künstler des Labels veröffentlicht und enthält mit dem Song "Cry" die erste neue M. Ward Aufnahme auf Merge seit 2018. "Cry" ist eine reduzierte Coverversion des Godley & Creme Pop-Klassikers, aufgenommen mit dem Folk Bitch Trio aus Melbourne, Australien. M. Ward über "Cry": ""Cry" wurde in einem tasmanischen Museum für moderne Kunst namens MONA aufgenommen. Ich saß am Ende eines langen Flurs, nur wenige Meter entfernt von Anselm Kiefers Skulptur eines 20 Fuß hohen Stapel von Bleibüchern, und links und rechts von mir, um ein einziges Mikrofon herum, saß das Folk Bitch Trio; wir probten und nahmen "Cry" in etwa 30 Minuten auf. Es ist mir ein Vergnügen, diesen Song zu einer Sammlung meiner schönsten Erinnerungen an das Musikmachen hinzuzufügen." Der Song ist der perfekte Schlussstein für eine Sammlung dieser Art und fasst Wards Stärke als Musiker zusammen: der Reichtum, den er in spärlichen Aufnahmen erreicht, sein Talent für Zusammenarbeit und seine Fähigkeit, die Seele eines akribisch ausgearbeiteten Popsongs zu durchschauen. Ein Mittel, um auf die Zukunft seiner eigenen Arbeit zu blicken, aber auch ein Rückblick auf seine Vergangenheit.

Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.

Wewantsounds is delighted to announce the reissue of Steve Beresford's highly sought-after album "Dancing the Line", released in France in 1985 on the French label nato. The album, taking its inspiration from French designer Anne Marie Beretta's fashion, features his Alterations acolyte David Toop plus Alan Hacker and Kazuko Hohki (Frank Chickens) with lyrics by Andrew Brenner. The music mixes sophisticated ambient pop powered by a RX11 drum machine with elements synth funk and experimental music. "Tendance" and "Comfortable Gestures" have become underground classics over the years and this is the first time the album is reissued, in partnership with nato who will release the CD version later this year. The reissue includes audio newly remastered by Translab in Paris, original gatefold artwork and a 4-page insert with liner notes by nato's Jean Rochard....

Robyn Hitchcock is a rock’n’roll surrealist. Born in London on March 3rd, 1953 he describes his songs as “pictures you can listen to”. As much a child of Dali, De Chirico, and JG Ballard as of his 1960s musical heroes, he is a master of the absurd, reveling in the beauty of the unexpected. His first publicly visible band The Soft Boys (1976 - 81) has remained an influential art-rock touchstone for generations of musicians. “I just want to be an obscure cult fringe,” he told the NME in 1978; the NME didn’t believe him, but he’s been true to his ambition. Without ever breaking the surface of pop culture Hitchcock has floated at a tangent to the mainstream for nearly 5 decades. His songs have been performed by REM, The Replacements, Neko Case, Gillian Welch & David Rawlings, Lou Barlow, Grant Lee Phillips, Sparklehorse, and Suzanne Vega with the Grateful Dead among others. A confirmed outsider, he nonetheless has devoted listeners around the world who attend his concerts, and also tune into the online streaming shows Robyn seasonally does with his wife, the singer Emma Swift. In 1996 he was the subject of Jonathan Demme’s in-concert film, ‘Storefront Hitchcock’. Robyn Hitchcock came of age in the 1960s when he attended Winchester College, an eccentric hothouse boarding school in the south of England. This is the subject of “1967”, which is both a memoir and an album, due for release in June this year. The memoir is a book “1967: How I Got There And Why I Never Left”, describing how the music of Bob Dylan, The Beatles, Jimi Hendrix and others drastically transformed the direction of his life when he left home for this strange new world. The companion record album “1967: Vacations In The Past” is a selection of the (mostly) hit songs of that year, re-recorded acoustically by Robyn with the help of some friends in Cambridge, San Francisco, and Sydney. He is currently preparing new material to release in 2025. “I like to keep busy”, he says: “We have all eternity to not exist”.

Das neue Album von Big Bend ist ein Monument des Hörens durch den Schleier von Zeit und Raum. Der aus Ohio stammende Nathan Phillips, Hauptkomponist, baute auf Jamsessions auf, die er während einer Residency in Australien veranstaltete und collagierte diese Aufnahmen zusammen mit dem Co-Produzenten Shahzad Ismaily zu "Last Circle in a Slowdown". Nachdenklich, hi-fi und elementar, erinnert der "Folk-meets-Freeform"-Sound an satten 90er-Akustik-Rock und das britische Post-Pop-Songwriting von Mark Hollis und David Sylvian. Die lyrischen Betrachtungen über die Misere der Natur und ihrer Regenerationsmöglichkeiten ziehen in Betracht, dass sich alle Dinge in jede Richtung bewegen könnten.

The Heads’ Simon Price returns to his kandodo project with 'theendisinpsych'; "primitive pieces of psychedelic tuneage+years of wasted time=43 minutes of headphone bliss." It's the follow up to the 2019 collaboration with Wayne Maskell and Hugo Morgan, Kandodo 3 – K3, but this time back in solo-mode. He is now relocated in Northumbria, and has recorded the album himself in his home studio, drawing on his wide collection of music/instruments and the rural environment for inspiration. The new album fizzes and crackles with a verve that will activate the “turn on, tune in, drop out” sense in all listeners… Simon explained the album in a focused/out of focus track by track way… is this Price’s paean to his obsession with Bowie? chamba7 - octave mandolin through fuzz, tambo beat, in praise of Bowie compilations. chamba is malawian weed theendisinpsych - bought a reel to reel tape off ebay in 2005, ('Bowie radio interview tape, USA, 1970, 3 minutes?') then bought a machine to play it on in 2015. Heard the words and laid them onto a fuzzy break bed. Thought it all too relevant to today, prophetic David from his 'hippy' days (not a prophet or a stone age man) fuzzy oceans - played on 1 string spamjo, bouncing echo over 70's drum machine, 'we've fucked the oceans' freefalling - rolling cello and hissing cymbals with vocoder dreams comes with african/stationtostation artwork stylings for the sleeve..pre-apocalypse blues (and pinks), the world isn't going a good way a sumptuous 4 course sonic supper, tuck in.

At it’s core, Watchhouse (formerly known as Mandolin Orange) is a duo - Andrew Marlin and Emily Frantz - from Chapel Hill, NC. Their harmonies are ethereal, their chemistry vibrant, bringing to mind the atmosphere invoked by classic duos such as Emmylou Harris and Gram Parsons, or Gillian Welch and David Rawlings. Andrew and Emily provide the foundation of the group's timeless Americana sound, while enlisting a full band to flesh out their dynamics.

This Side of Jordan is the group's 3rd full length album and debut release on Yep Roc Records. Since signing to the label and releasing This Side of Jordan in 2013, the band has made quite a bit of noise on the folk/Americana circuit. They’ve received critical acclaim from NPR Music, Rolling Stone, The Wall Street Journal, Garden & Gun, No Depression and more. Their catalog has surpassed over 500 million streams and they’ve sold out worldwide tours. They have headlined Red Rocks and have graced the stage of the Ryman, Bonnaroo, and Newport Folk Festival.

Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in NCAA History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "DT" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.

Between 1975 and 1977 they also became the first group of pro athletes to create two records while playing football together for a NFL team. Their debut 7-inch single from 1976 was cut at 33 1/3 RPM due to the length of the songs. "Shake and Bake Pt.1" lasts for 4:30 minutes while Part 2 stretches out to an incredible 7:00 minutes!

Additionally, "Shake and Bake Pt.1&2" will be featured on the forthcoming "Movements Vol.12" compilation album, due September this year.

Key selling points:

- limited to 500 copies!

- deluxe picture sleeve edition!

- official re-issue, done in cooperation with Glenn Doughty!

- Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Le mythique groupe français Indochine a gratifié ses fans le 14 juin dernier d'un nouveau titre, «Le chant des cygnes» qui ne cesse de progresser dans les airplays suisses et français. Indochine nous donne rendez-vous le 7 septembre prochain pour découvrir en intégralité leur nouvel album intitulé «Babel Babel», mixé par Mark «Spike» Stent et illustré par une pochette signée David LaChapelle.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

On August 16, Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Face to Face, Day by Day’ for his own Halocline Trance imprint.

This is is Psutka’s third album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

“Aesthetic accidents in the periphery of the ‘work’ can be the message. In 2018, at an Egyptrixx concert at Bagni Misteriosi de Teatro Franco Parenti - a gorgeous, sprawling outdoor pool theatre in Milan - I had a clarifying moment. Gigs around then had mostly been in pummelling, dark music venues, so I wasn't prepared for this expansive space (and the thoughtful work of the organisers who had layered sheets of plastic film on the pool to parallel eco-materialist themes from a previous album). It was the midday soundcheck that struck me most - brittle digital sounds from the set echoed off the colonial Milanese facades and ricocheted down the Via Carlo Botta, pinging off buildings in the distance and clashing with the noise of traffic, tourists and whatever else. It was a strange, collisionist moment, and a reminder that my essential approach to music is, above all, a preoccupation with the materiality of sound. 

Everything on Face to Face, Day by Day began as an improvisation. Openness to accidents and the emotional complexity that comes from centering them in composition has become important to my work, and helps the music go beyond the possibility of what is playable, imaginable. I also wanted to channel adventurous solo pop records of the 1970’s and 80’s, like Yasuaki Shimizu, Jon + Vangelis and Stevie Wonder. These came from an interesting era in commercial music as studio production techniques became increasingly formalised as compositional devices, like AMS RMX16 percussion sounds and early digital stereo effects. 

Like many musicians, I’ve been travelling and performing less since the pandemic and as a result, have wanted studio sessions to feel more collaborative and improvisational. There were great writing and recording sessions for this album. Vox, synth, sax and guitar jams - much of what ended up on the record isn’t edited much, if at all. I jammed a sm57 into Colin Fisher’s sax bell and created feedback loops using various preamps and distortion units. The clunky sounds were sampled and used as percussion elements. I also had a great synth jam session with Jeremy Greenspan at Barton Building Studio in Hamilton, which was recorded by filmmaker Liz Adler. 

I’ve had a few months to sit with this album and see clear throughlines connecting it to previous projects. There are aspects of the experiential and structuralist sound design ideas from the EGYPTRIXX records; and also some arrangement tricks borrowed from ANAMAI - specifically, the use of interruptionist sound events. Perhaps most of all, it feels connected to the Ceramic TL + Ipek Gorgun record ‘Perfect Lung’ and its splattered take on musical complexity. “ (David Psutka)

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Ben Gunning, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.