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Darius Rucker veröffentlicht sein mit Spannung erwartetes Studioalbum „Carolyn’s Boy“, welches sein erstes Solo-Album innerhalb der letzten 6 Jahre ist. Der mit zahlreichen Gold-, Platin- und Diamantauszeichnungen geehrte Country-Künstler gewann bereits 3 Grammy-Awards. Sein Album „Cracked Rear View“, gemeinsam mit seiner Band Hootie & the Blowfish platzierte sich in der Top 10 der bestverkauftesten Alben aller Zeiten. Mit der Veröffentlichung seiner erfolgreichen Single „Fires Don’t Start Themselves“ liefert Darius einen Vorgeschmack auf „Carolyn’s Boy“. Das Album ist für Darius eine Hommage and seine verstorbene Mutter sowie der Abschluss seiner Suche nach seinem Platz in der Country-Musik.

The MERCYFUL FATE vinyl re-issues continue! After re-releasing 'Time' and 'In The Shadows' in August - the three remaining Metal Blade classics will get the 'Original Series' treatment: original layout, 400g spine sleeves (inside-out print), 250g insert, large artwork poster ('Into The Unknown', '9') or 350g Gatefold-sleeve + large poster ('Dead Again'). *2023 new vinyl pressing *Original Release Date: June 15th, 1999. * Format Details: Single LP + poster. Mastered for vinyl by Patrick W. Engel BAND LINE-UP: King Diamond: Vocals Hank Sherman: Guitar Mike Wead: Guitar Sharlee D’Angelo: Bass Bjarne T. Holm: Drums Recorded and mixed at Nomad Recording Studio, Carrollton, Texas, USA February – March 1999 Produced by Kol Marshall and Mercyful Fate Mixed by Kol Marshall and Mercyful Fate Engineered by Kol Marshall 2nd Engineer Vince Rossi

In the Shadows is the third full-length studio album by Danish heavy metal band Mercyful Fate. It is the first offering of the band since their reunion in 1992. After an almost decade-long hiatus, Mercyful Fate's reunion did not disappoint; it was as if they picked up right where they had left off. There are more of King Diamond's gothic tales of horror and the supernatural, and the music sounds better than ever. It doesn't have the historical significance of their early-'80s material, but that doesn't really matter; this is high-quality material from a tight veteran band.

The greatest dance hits from the past decades now again available on coloured vinyl! This series only contains the greatest dance hits from the 80’s, 90’s, 00’s and 10’s, in the original versions. Collected by decade on a seperate vinyl.

A ‘must have’ for any true dance-music lover!

Phase O' Matic, an eccentric treasure hunter, ventures to the Parcel Islands after hearing about Erik and Huber's psychedelic antics. Intrigued by tales of a telepathic shark guarding a hallucinogenic treasure (Shadowfin), he dives deep into the South China Sea wearing his signature glowing shark tooth necklace.

Amidst swirling colors and cosmic jellyfish, Phase communicates telepathically with the school of sharks and ends up locating something he did not expect to find: hundreds of aged vials labelled 'Acid Lean'. Phase O' Matic quickly realized that the 'Acid Lean' vials were the very eau de vie Serb and Paramedic initially sought. He decides to deliver the treasure to Qassem Acidmani himself, hoping to claim the elusive reward promised by Gandalf OG.

EP opener ‘Scary Movies’, is a wickedly euphoric slice of driving techno that rushes the bassbins and dials up the serotonin levels to the max. A true mutant roller that’s guaranteed to drain the smoke machine dry. Following that is ‘Getting’ a snarling and unpredictable masterclass that traverses through jagged techno and twisted breaks. A proper hard working number, loaded with attitude and built specifically for all night sessions.

‘Esvedra’ kicks off the B-side and keeps things moving at a blistering pace. A laser-focussed club cut that is guaranteed to run amok through every space it graces. A razor sharp face melter stacked with hammering percussion and lethal drum work. Rounding off the release is Yushh’s brooding and expertly restructured remix of ‘Getting’. A heady cocktail of UK Bass in its most sinister form and a heavy dose of the more off-kilter and forward-thinking sounds coming out of not just Bristol but the UK as a whole. This is proper lights down and sound system up material at its finest.

‘Scary Movies’ unequivocally displays Dawn Razor’s skills as an increasingly confident producer and one of the most important artists emerging out of the Russian scene. While simultaneously showcasing Yushh’s inherent ability to think well outside of the box each and every time. Blue Vinyl Edition.

Félicia Atkinson: »Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe)« (2021)

Félicia Atkinson’s Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit one’s creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O’ Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Félicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Félicia Atkinson’s music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, it’s a singular way of approaching the world and, in so doing, densifying it.

Richard Chartier: »Recurrence.Expansion« (2020)

Richard Chartier’s music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartier’s music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartier’s music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Reach for the geiger counter - Park End comes shelling in the direction of Sneaker Social Club with some plutonium-plated, 2-stepping swelterweight gear for the grubbiest of dancehalls. All we can ascertain about the shadowy figure on the buttons for this latest release is that they’re clearly schooled in the lineage of UK hardcore, pirate radio culture and the sympathetic tenets of UKG, jungle and dubstep.

Opening up the A side, ’Same Dream’ is a claustrophobic, gnarly creeper with razor-sharp snares, growling low end and enough heads-down malaise to turn the most blissful sunrise set ice-cold. ‘The Immortality Of The Crab’ pays tribute to the fine tradition of illegal radio broadcasting and its importance for the development of rave, leaning on a staggered, mucky garage beat that smacks hard just how we like it.

On the flip, Park End turns attention to the synergy between RnB and garage with a refix of BBL Sound’s ‘BBS’, pairing the sweetest vocal chops with plenty of bitter b-line pressure, while ‘Rekt’ draws on an unnamed voice for another fission between human sensitivity and mechanised intensity. This parting shot borders on anti-anthemic by the time it reaches its peak while holding true to the pitch-black vibe creeping out around the edges of this rough diamond of an EP.

Limited rerelease. Unavailable for years. The legendary album from 1984. Fully remastered by David Cunningham. These recordings were originally released on cassette by Touch in 1984 with the exception of 'Parts Of My Body', released on a single by Canal Records in 1979. Performed by: Steve Beresford: bass, piano, farfisa organ, prophet 5, trumpet, flugelhorn, euphonium, percussion, glockenspiel, voice, toy piano, melodica, noises, rhythm tracks, drumkit. David Toop: guitar, prepared guitar, bass, percussion, flute, alto flute, glockenspiel, voice, tapes, noises, rhythm tracks David Cunningham: tape treatments with guests: Lol Coxhill, Dawn Roberts and Maartje ten Hoorn 'The atmosphere which General Strike conjure together suits an old fashioned, cold war-ish scenario of technology. Their 'Interplanetary Music' is the space pop of George Pal and 'The Day The Earth Stood Still', of computers built like Blackpool Tower in order to struggle through simple trigonometry, of 'The Jetsons' and I.G.Y. They go no further than Expo 67, the world's last gasp of optimism. And although there are dark and disquieting moods set in this mosaic which their listeners have pieced together, it is made with a humour which is true to the spirit of adventure which those references apply. The sanitation merchants who make up most of the world's record-makers today would forbid our ears from hearing these strangely electric keyboards, earthworked textures, bizarre chattering of percussion, and voices that seem like puzzled robots. Cataloguing the sound in that way makes it all seem a bit of a joke, but it isn't: laughter is encouraged, but it's serious music, made with a great deal more serious spirit than the great and disheartening mountain of music which today implores you to hear and not listen.' (Richard Cook).

Aurora Records proudly presents Temporal Gardening, featuring
composer and performer Stephan Meidell and the baroque ensemble
Bergen Barokk
The new album will be available on vinyl and digital platforms on15th of
September 2023.
Temporal Gardening was originally a commission written in 2020 for Bergen
Barokk. The idea was to explore using early music instrumentation in dialogue
with new electro-acoustic technology. The unique and remarkable ecology grew
from pseudo- baroque music playfully reimagined, reinterpreted, disassembled,
remixed, and resampled.
The trio has been expanded with drums, functioning as speakers for the
electronic manipulations of the ensemble. A double-bass recorder vibrates a subwoofer speaker mounted inside a bass drum, and a live sampled harpsichord
sounds through cymbals, gongs, and a snare drum. Meidell himself part takes as
a musician in the performance, doing live sampling and electronic contributions.
Musician-composer Stephan Meidell is a musical adventurer who, in a nomadic
fashion, improvises his way through a plentitude of styles. Meidell's music exists
where genres dissolve into fragments that canbe picked apartand combined in
new ways. He frequently combines sounds from electronic, acoustic, and
electromechanical instruments and machines and then recontextualises them
with his finely tuned intuition and sense of detail. Meidell has a plentitude of
releases and commissions, including with Erlend Apneseth Trio, Strings &
Timpani, Cakewalk, and TRIGGER on labels such as Hubro, Clean Feed, Playdate,
and Ideophone.
Bergen Barokk was established in 1994 and is today one of Norway's leading
early- music ensembles. The group has concertized and appeared in radio
broadcasts in Europe, Russia and USA. Their recordings on Simax Classics, BIS,
Bergen Digital Studio and Toccata Classics include German, English, Italian and
French repertoire. Bergen Barokk has collaborated with several ensembles
through the recent years, some of them are Pratum Integrum (Moscow),
Norwegian Soloists' Choir and Barokksolistene (Norway). Bergen Barokk has
performed in festivals like Festspillene i Bergen, Bach Festival of Philadelphia,
Moscow Early Music Festival and Janacek International Music Festival (Czech
Republic).

With fresh energy and bright intuition, Abby Johnson's confident selftitled debut (due in late 2021) offers timeless folk songwriting teeming
with a classic Nashville golden-era sheen
Johnson draws upon genre-spanning influences and wrangles them effortlessly
into her own expression: "I want my songs to sound familiar, but tell you
something new," she says. The duality of Laurel Canyon nostalgia and indie rock
blend effortlessly in her songs, polished further by the airtight backing band of
fellow Nashvillians, Ornament (and produced by the band's drummer, Ryan
Donoho).
Raised in North Carolina on the earnest mythos of Taylor Swift, she describes her
first songs as "diary entries -- playing guitar alone in my bedroom until I was
twenty three." Moving to Nashville for college introduced her to an immersive
musical community, where she steeped in the influence of folk- and- country
stalwarts like Emmylou Harris and Bonnie Raitt in equal proportion to more
contemporary indie songwriters like Phoebe Bridgers.
In addition to music, Johnson is known and admired for her film and photography
work. Capturing the mood of a scene in a single snapshot is an ability she
translates to her vivid songwriting: bringing the subtlest details into sharp focus --
vignettes in a soft- grained atmosphere. Intimacy and longing push and pull
thematically, as well as a sense of motion: driving through the desert; penning
love letters in the mountains; and pulling up a chair to a grandmother's kitchen
table. These songs are rooted but travelling, moseying through American folk-pop
traditions and toward something altogether fresh and dreamlike

Repress

2 Heretik weapons, both same speed (Dj tip ^^), boths ballsining the tribe and both very raving... Transformers remix, longly awaited by the Nout fans and the Toxic fat track, less commercial but very efficient too ! At least this is a full NOUT raving record ! Must Have !

The DIAMOND DOGS ladies and gentlemen!
One of the world's finest pure rock & roll bands, still doing it just how they please, sounding better than ever.
New record "About The Hardest Nut To Crack" was recorded live. 12 brilliant tracks, all mixed/produced/written and arranged from scratch at Strawberry Studios over eight days in the early spring of 2023. It's a hell of a statement!

Sound Like: The Faces, Rod Stewart, Ronnie Lane, Ronnie Wood, J Geils Band.

Mit einer #1 in den UK-Vinyl-Single-Charts und der Ankündigung ihres vierten Albums festigen JOHN 2023 ihren Ruf als kompromisslose Post-Hardcore-Kraft. Mit Barry Adamson (The Bad Seeds, Magazine) und dem preisgekrönten Schauspieler Simon Pegg als Gäste vereint 'A Life Diagrammatic' Schlagkraft und Intensität ihrer atemberaubenden Live-Shows mit den zunehmend strukturellen, cineastischen und expressiven Sensibilitäten der Band. Für die Abmischung wurde Seth Manchester (Big Brave, Battles, METZ) engagiert, während Frank Arkwright (Mogwai, Arab Strap, Squarepusher, Autechre) das Mastering in den legendären Abbey Road Studios übernahm. Das Ergebnis ist ein reichhaltiges und eindrucksvolles Hörerlebnis einer fesselnden und genreübergreifenden Band.

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card

The EP also includes a remix of the popular single ‘SAMO’, which
spent four weeks on the BBC 6 Music playlist, accompanied by an
animated lyric video paying homage to the graffiti tag it was named
after by Al Diaz and American artist and wunderkind, Jean-Michel
Basquiat. The final track on the EP is a remix of ‘Waiting on a Train’,
presenting a new and special version of the original song, with the
presence of featuring artists Ellen Beth Abdi and Chunky remaining
strong.

Formed in 1978 with a core line-up of Jez Kerr, Martin Moscrop and
Donald Johnson, A Certain Ratio emerged from the hallowed grounds
of the late 1970s punk scene, and from that day on they’ve moved
forwards with gleeful disregard for the boundaries of style and genre,
their eye fixed firmly on constant progression.

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«