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PALE GREEN STARS VINYL

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

Emerging from the forced exile of 2020-2021, Barton found himself with a large number of songs. Taking inspiration from the line of English singer-songwriters that runs from Nick Drake through Lloyd Cole to Pete Doherty and beyond, he chose 10 that lent themselves to an indie-folk aesthetic and began work on the new album, “Manchester Sun”.

Ever the storyteller, Barton weaves tales of first kisses, of soldiers trying in vain to remember their hometown, of missed opportunities and unreliable childhood memories. He casts Orson Wells as a modern day dictator, perched on high in a carousel, and tells the story of the spray-painted marriage proposal that appeared overnight on a motorway bridge 50 miles from London.


Manchester Sun was recorded in England with Barton playing most of the instruments himself, moving through guitar, bass, drums, percussion and Hammond organ during an intensive week-long session in the peaceful, rural setting of Echo Studios. The album places Barton and his acoustic guitar centrestage, with additional contributions from long time collaborators

Originally released on Axis records. Moonlight Serenade Year 3036, the Third Empire of Human spans hundreds of star systems, only accessible by a faster-than-light spaceship. No other intelligent beings have ever been encountered, not until a light sail probe enters a human system carrying a dead alien. The probe is traced to the Ursea, an isolated star system in a thick dust cloud, and an expedition is dispatched. After a search that lasted thousands of years, humans stand on the verge of first contact with an alien race. The mission's objective: learn everything there is to know about the extraterrestrial intelligence. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

The latest instalment from Acid Jazz’s Albarika Store series, ‘Afro Funk’ compiles the very best of the legendary T.P. Orchestre Poly-Rythmo’s funk cuts.

Formed in 1968 by leader Clément Mélomé, T.P. Orchestre Poly-Rythmo became the leading group in Benin and the cornerstone of the Albarika Store label and legacy.

This collection brings together highlights from their extensive career, including tracks as ‘Gbeti Ma Djro’, ‘Segla’ and the collectable ‘It’s A Vanity’: wall-to-wall some of the finest Afro-Funk ever made.

Corn, originally released in 2015, features nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell"s partner Tom Lee, Audika"s Steve Knutson compiled Corn from Arthur"s original, completed 1/4" tape masters. Russell himself compiled this material on three separate test pressings-labelled El Dinosaur, Indian Ocean, and Untitled, respectively- in 1985. Russell fans know something of the Corn sound from Audika"s debut release, "Calling Out of Context" (2004), which included four songs from these sessions: "The Deer In The Forest Part 1," "The Platform on the Ocean," "Calling Out Of Context," and "I Like You!" This new collection includes rhythmic alternate versions of "Lucky Cloud," "Keeping Up," "See My Brother, He"s Jumping Out (Let"s Go Swimming #2)," "This Is How We Walk on the Moon," and "Hiding Your Present From You," along with "Corn," "Corn (Continued)," "They and Their Friends," and the closing instrumental "Ocean Movie," one of the most beautiful and curious Russell tracks ever to see the light of day.

Jazzrausch Bigband has more or less invented a new art form,
techno jazz, and has become well-known for performances of it. But
the band also has another, different story to tell. It has invented its
own tradition of hitting the road and touring at the end of each year
with a programme consisting of Christmas music, and has been doing
this ever since the band first emerged eight years ago. Bandleader
and founder Roman Sladek explains: “Whereas our regular projects -
the most recent album, ‘Emergenz’, is a good example - are all about
working through a specific theme and finding new ways to reinvent
ourselves, our Christmas thing is something we do for one reason
alone: to have fun. It was our very first programme, we still love it, and
we’re still nurturing, developing and growing it. Being able to devote
one month a year entirely to the big band tradition is something we’re
all really passionate about.”
Some bands might have been tempted just to throw together an
album of Christmas chestnuts any old how, but the Jazzrausch way of
doing things is not like that at all. Unlike any other album by the band,
for the first time we hear purely instrumental music. Furthermore,
Kuhn has taken ten classic Christmas songs - each one of them
rarely heard in jazz, and tunes which can often come across as a bit
staid in their original settings - from ‘Tochter Zion, freue dich# to
‘Adeste fideles’ or ‘Ihr Kinderlein, kommet’. The title track, ‘Alle Jahre
wieder!’ (based on the 1830s carol to music by Silcher which is very
familiar to children and adults in the German-speaking world) appears
here in completely new orchestral garb.
Sometimes the listener will recognise the kind of swing typical of
Glenn Miller. At other moments it is the incomparable big band
elegance of, say, Artie Shaw. ‘Es wird scho glei dumpa’ (an Austrian
carol) is given the full extra high pressure Tijuana brass treatment.
‘Maria durch ein’ Dornwald ging’ gets the touch of the Thad Jones /
Mel Lewis Orchestra after a Henry Mancini-like intro, and ‘Ich steh’ an
deiner Krippe hier’ recalls more of the great swing heritage.
Once again Jazzrausch Bigband has succeeded in a way that only
very few in the jazz field can, notwithstanding the openness of the
genre: they have brought young and old together, tradition and
revolution, the familiar and the new. Which is why it feels so
completely natural and right that they should continue to do this
‘again every year’, as the album title tells them: ‘Alle Jahre wieder’.

White Lung are back! This winter brings their fifth and final,
chaotic, bold and hook-driven album, ‘Premonition’. It’s a
whirlwind of driving drums, intricate guitar work, and noholds-barred lyrics about motherhood, pregnancy, and
growth. The themes are deeper. The interplay between
guitarist Kenneth William and drummer Anne-Marie
Vassiliou is more complex, the sound more cohesive.
During an unintentional five year hiatus, White Lung
managed to grow up without settling down, and the trio
has emerged out of its transformative period with raw, feral
energy.
When the members convened in their hometown of
Vancouver in 2017 to begin work with long-time producer
Jesse Gander on their fifth album, they had no idea what
kind of changes were in store for them. Frontwoman Mish
Barber-Way was in the studio preparing to record vocals -
when she realized she was pregnant with her first child. A
pandemic followed, then another baby, then the series of
massive societal meltdowns that we’ve all come to call
“everything that’s been going on.”
‘Premonition’ is about birth and rebirth. It’s about leaving
behind nihilism while refusing to give up the freedom that it
offers. It’s about raging against the world while still finding
space within it for hope and love.
CD into printed inner wallet into outer wallet and 8-page
folded poster booklet.
LP includes 24” x 36” poster.
Press - Reviews in MOJO, Loud & Quiet, Uncut. Features in
Stereoboard, Upset, NME, DIY, The Line of Best Fit, Our Culture,
CMU, Yahoo, The Guardian, Pitchfork, Rolling Stone, The FADER,
SPIN, Stereogum, Consequence, Brooklyn Vegan, Alt Press,
Exclaim!, Treblezine, Femmusic, Ultimate Guitar, Broadway World,
Northern Transmissions.
Radio - BBC 6 Music.

Violet Vinyl

The debut of Hamburg trio Cloud Management stages the meeting of three proven exceptional figures: Thomas Korf and Sebastian Kokus have been responsible for some stunning leftfield neo-kraut releases with their band Love-Songs in recent years; Ulf Schütte has been one of the most productive, and innovative protagonists of experimental electronic music in Germany for many years (see Datashock, Phantom Horse, or his most recent collaboration with G. Steenkiste/Hellvete on Umor Rex, for example). Following Love-Songs' highly acclaimed collaboration with Schütte, »Spannende Musik«, released in 2021, the formation of Cloud Management as a group in its own right marks a new beginning, which is celebrated with the long player on Altin Village & Mine.

The album is characterized by a dense texture of repetitions in which (modular) synthesizers and bass go head-to-head. It is on this foundation that the formal grammar of the album develops over its nearly 45-minute running time, organized along precise interventions into the hypnotic pulse: What is recognizable as echoes of 1960s/70s minimalism or Cluster functions on »Cloud Management« not in the sense that the sequences or the sequencers are left to themselves, but as highly concentrated, microscopic work on repetition. This virtuosically arranged, groove-based and even danceable density of the seven pieces never sounds strained or as an end in itself, but floating, cloud-like. The polyrhythmic workouts are at all times in the service of a refreshing expanse that opens up from the sonic saturation and is far removed from the formulaic box-checking often associated with the attribute ›kosmisch‹. »Cloud Management«, thus, marks not an exercise in the traditions of a musical past, but a distinctive position within contemporary electronic music.

All songs are written, recorded and produced by Ulf Schütte, Thomas Korf and Sebastian Kokus.

Gary Moore rocked the world of Blues and Rock with his virtuoso guitar playing and soulful voice. Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time.

A Different Beat, was Moore’s 12th solo album, where he explored new areas of blues and rock. This album has never previously been released on vinyl, and contains new liner notes written by Dave Everley. This release will be pressed onto transparent orange vinyl and includes bonus track ‘Can’t Help Myself (E-Z Rollers Remix)’.

On in february, Isik Kural works like a photographer of sound, documenting the passing and returning of time as if material snapshots of life's temporality. Across the album's twelve songs, each composed from chance loops and cocooned within the soft container of Isik's memorable voice and melody play, time is held on to hopefully, impossibly, eternally.
Born in Istanbul, Isik studied music engineering at the University of Miami, alighted in New York City, and eventually settled in Glasgow, immersing in a sound design masters and audiovisual practice. While these paths guided him between different projects and cities, a voice was simultaneously growing inside the artist, informed by a vision of the world in its everyday luminosity. This voice was expressed in the lyrical and instrumental waves of 2019's As Flurries, a cassette collection for Italian label Almost Halloween Records.
Isik Kural's in february will be released on October 15, 2021 on vinyl, cassette, compact disc, and digital formats. On behalf of Isik, a portion of the proceeds from this release will benefit Turkiye Egitim Gonulluleri Vakfi, an organization that creates and conducts workshops, educational training programs and after school programs for children across Turkey.

"Black Screen Records has once again teamed up with Tumult Kollektiv to release their soundtrack to Hundred Days, a game of choice, nostalgia and winemaking.Departing from the folkloristic orchestral sounds of Pine, the music for Hundred Days strives for an intimate setting, prominently featuring a small ensemble of synthesizers, cello and guitar. The compositions are lush and intricate, creating a soothing and light-hearted score, tinged with a sense of melancholy.""We are really proud to be releasing our second soundtrack with Black Screen Records and would like to thank everyone that has been supporting our music.Working on the music for Hundred Days was a wonderful experience and a great opportunity to taste some wines (and learn about winemaking).Thanks to Weinhof Lindicke for allowing us to record sounds on their vineyard, and Lawrence Herlyn for showing us around.Furthermore, our deepest gratitude to the wonderful musicians we got to work with on this project. Thanks for borrowing us your talent, near infinite patience, and making the music sing."" - Alexander van der Kruijf, Jonathan Howe & Leonhard van Voorst"

Opal Sunn (Alex Kassian and Hiroaki OBA) believe in unicorns, leprechauns and mermaids. This is their first offering for the ESP Institute. The A side leads with 'The Problem With George', a percussive monster at a half-time tempo that goes deep with a dual mission; to successively build round after round while keeping the listeners mind and body in an ecstatic state of surrender. Imagine the dancefloor pumping, and at a dynamic peak the DJ halves the timing and wipes the floor with your spinal fluid. On the flip, 'The Mystery Of Mr Lee' takes a similar approach in terms of arc and arrangement, although replacing the analogue percussion with 16th-note arpeggios of synthetic steel, glass and tubes. Beneath this glistening veneer lies another scale-wandering melody constructed of machine toms that eventually opens up, morphing into a more decisive hook, wrapping more tightly around the drum pattern before retreating back beneath layers. If dropped at the opportune time, let’s say the sensitive blue morning before dawn cracks, we expect a dancefloors to reach the highest level of psychedelic escape, after which hugs are essential. These two songs will tuck you in and kiss you goodnight.

A NEED FOR SPEED, A NEED FOR ACTION.
ANFS BECOMES BOY TZORTZ.
A NECESSARY CHANGE IN A TIME THAT THE WORLD CHANGED AROUND US.
UNEXPECTEDLY. WITH FORCE.
RIOT OF LIFE.
A YOUNG PRINCE IN HIS ARMA THAT IS RIDING WITH DEVASTATING SPEED TOWARDS THE ETERNITY.
FOLLOWING THE PATH TO HIS DESTINY.
AND THROUGH CHAOS HE BRINGS ORDER.
THIS IS HIS KARMA.

4 SINISTER CUTS OF PURE MEGACITY ENERGY FROM ONE OF THE BEST IN THE GAME.
ENOUGH SAID.

During the worldwide pandemic, when many bands were setting up livestreams, the symphonic metal pioneers decided to go even further and presented the virtual reality show The Aftermath. This spectacular immersive, tech-driven event allowed them to perform in four different futuristic virtual worlds that interact with both the band and the music. The set included both old and new material, as they presented the single “Shed My Skin” for the first time during the live set and played a brand new version of “Forsaken”

The Aftermath EP features four live tracks from the virtual reality show, including the single “Forsaken (The Aftermath)” and “Shed My Skin” featuring Rudi Schwarzer and Christoph Wieczorek, both from the German post-hardcore band Annisokay.

The Aftermath EP is available as a limited edition of 3000 individually numbered copies on crystal clear coloured vinyl. Side B of this 12 inch contains a exclusive full colour print based on the show’s artwork.

Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" (ALGA 029LP) and "Opus 17" (ALGA 045LP), and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre. Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental1" (ALGA 029LP) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path. There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics.

Bingo Harry sprang out of nowhere a few years back, when Martin Bramah of Blue Orchids was shocked by their opening set for his band, Blue Orchids. Bramah's enthusiasm went so far as to lead Blue Orchids to recording a then-unreleased Bingo Harry composition, "If They Ever Lay A Finger On Us", a subtle yet unusually powerful and enigmatic revolutionary song of caution to oppressors. The original recording was later released on Bingo Harry's self-titled debut, which sold well, and merited more studio sessions. These days, Bingo Harry is more a often solo vehicle for songwriter Benny Jones than a band. Currently living on a houseboat in northern England (which somehow manages to contain his home studio as well), Benny spent the past few years recording dozens of songs before winnowing them down to fit on Bingo Harry's second album, "Where Do We Go?", not to mention constructing the collage of the album cover. The cosmic inheritor of a certain Marc Bolan-esque knack for simple yet spiritual and thrilling tunes, Benny's songs span seemingly glam-induced groovers to a handful of gentle-but-trippy epics which would be overwrought in lesser hands, but here manage to capture a beautiful bit of the cosmos alongside their relevance to the wearying state of the world today. "Shine If You Can", the album's final track, works as well for an anthem of the times as anything you'll hear in the next few years. Tracks: Gullible / Fearsome Tannoy / Melted / Evolution / Rope Over The Wall / Where Do We Go? / Safe In Human Form / Weapon Against The Dark / Rabbit Hole / Did You Hear That? / Shine If You Can

With his first release since 2015, Seattle based Indie-folk hero Rocky Votolato returns with Wild Roots, an intimate concept album inspired by and written for his family. Each song a letter dedicated to a specific family member and focused on a special memory or moment in time. After losing his child in December of 2021 in a tragic car accident, the entire album, and especially the song “Becoming Human”, now a posthumous love letter, takes on an even deeper while devastatingly bittersweet meaning. The production on Wild Roots is hushed, handcrafted, and warm — an intimate and personal experience that brings the nature of Votolato’s storytelling to life in very authentic and genuine ways. Produced, engineered, and mixed by Votolato himself, the record is a deliberate construction of his conceptual vision and new phase of his recording career. Additionally, the record features a stellar cast of renowned musicians whose contributions perfectly compliment the delicate nature of these songs — Abby Gundersen (William Fitzsimmons) on piano, string arrangements, and vocal harmonies, James McAllister (Sufjan Stevens, The National) on drums and percussion, Phil Wandscher (Whiskeytown, Jesse Sykes and the Sweet Hereafter) on electric guitar, and Marcel Gein (Perry O’Parson) on electric guitar. In many ways, Wild Roots is not only a break in silence for Votolato, but the opening of a new chapter — one that feels laser focused on what really matters in life. Whether discovering Votolato for the first time or adding another record to your collection, Wild Roots resonates on the most simple and important human levels — a sharing of experience that encourages us to keep believing in ourselves and in the magic of this life, no matter how harsh and difficult it can be.


Track list: 1. Evergreen 2. 23 Stitches 3. Glory (Broken Dove) 4. There is a Light 5. X1998x 6. Becoming Human 7. Breakwater 8. Little Black Diamond 9. Archangels of Tornados 10. The Great Pontificator 11. The Wildest Horses 12. Little Lupine 13. Bella Rose 14. Southpaw 15. Texas Scorpion (The Outlaw Blues)

David Gedge says: "During our `Hit Parade' series in 1992, there were a couple of Science-Fiction-themed singles, namely `Flying Saucer' (July) and The Queen Of Outer Space (November). And, would you believe it, I've only gone and done it again, haven't I? Thus, hot on the heels of last month's `Astronomic' comes the November single, erm... `Science Fiction'. It's not about the whole genre as such; the title will make sense when you hear the song. Although it's quite a sad lyric I, rather glamorously, wrote it whilst enjoying the amenities of a fancy hotel in Hollywood, so maybe the proximity of the film industry inspired me. Talking of inspirations, one band that has influenced The Wedding Present, off and on, over the years is The (mighty) Fall. And I don't know if they even planned it but, on `Plot Twist', Jon's spiky guitar riff and Melanie's crunchy bass line totally remind me of the classic Craig Scanlon / Steve Hanley combination that was memorably to be heard on sessions like the one recorded for John Peel in March 1983. Suitably inspired myself, when writing this lyric, I decided to also reference The Fall (for the second time in Wedding Present lyric history, the first being `Take Me!' some thirty-three or so years ago)." Penultimate release in this monthly series, in 2022 The Wedding Present will be releasing a new 7" single every month, the last but one is available for indie record stores only soon. This fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan

Da Buze Bruvaz and Lord Beatjitzu come together for a truly hard hitting, no holds barred, HipHop grudge match with the tough as nails BoLO Yeung Barbarian Bicepz EP. The long-time collaborators, known for dropping at a prolific pace individually, found time to combine and give their prospective audiences a true gift. Expect nothing but explosive neck-snapping beats and hard-body drunken rhyming. This is truly a companion piece for the Lord Beatjitzu produced Bruce Li in Japan LP. Here we find Da Buze Bruvaz Him LO and Clever One, deconstructing a few of those tracks while also bringing heat to some exclusive gems from the vaults of the reclusive production wizard. You may want to take a few steps back before entering drunken dragon styles presented on this one. Bruce Li meets Da Buze Bruvaz and every track contained within qualifies as a lethal weapon! Protect your Necks, Arms, Heads and Chests! PLAY on 45 rpm!

Great songs are not set in stone - since he burst from the blues clubs of Louisiana onto the global music scene with 1995's breakthrough first album, Ledbetter Heights, followed by his career defining second album, Trouble Is..

in 1997, Kenny Wayne Shepherd has twisted those classic cuts into bold new
shapes each night on the stage. Led by the pulse of the crowd, every last note
alive in his hands, the Trouble Is... tracks have always been on the move, never
settling into museum pieces.
But to give a quarter-century-old album a second birth is another matter. And in
more recent times, as the five- time- Grammy- nominated, multi- platinum- selling
artist looked up the road and saw the 25th anniversary of Trouble Is... on the
horizon, he hatched an audacious plan."One of the coolest things about rerecording Trouble Is... has been finding out or verifying how timeless this album
really is," says Shepherd, who also is leading a triumphant anniversary tour across
the United States in 2022 and 2023, performing the album in full. "I'm so proud of
what we accomplished, and also the fact I was just 18 years old when I did it. I
mean, I had an experience with this album that most musicians can only dream
about. Trouble Is... sold millions of copies. There's validation in all of that for me."
The Artbook package contains: 2LP on Gold Vinyl, CD, DVD and Blu- ray of the
Trouble Is... 25th Anniversary Show in the Strand Theatre in Shreveport, Louisiana
and a documentary about the making of the album, plus a Dolby Atmos audio Bluray that is exclusive to this release.

On March 16, 1968, the United States Army killed over 500 unarmed
civilians in the hamlet of My Lai, Vietnam
The unimaginable brutality of the event impacted all those who witnessed it
firsthand, including helicopter pilot Hugh Thompson, who, against orders,
intervened to save Vietnamese lives. Thompson's story is the basis of the opera
My Lai, composed by Jonathan Berger (music) and Harriet Scott Chessman
(libretto) for Kronos Quartet, Vietnamese multi-instrumentalist Vân-Ánh Vanessa
Võ, and vocalist Rinde Eckert. This definitive recording of My Lai captures the
visceral, phantasmal depictions of Thompson's grief, horror, and guilt as he is
haunted by persistent memories of that cataclysmic day, half a world and nearly
four decades away. Tense and unforgiving, My Lai is "a gripping affair, beginning
to end" (New York Times). Presented here alongside recollections by Vietnamese
survivor Tran Van Duc, it is a memorial to all the My Lai villagers killed on that
grim day.

His debut was recorded in the winter of 2003 with assistance from Texas
chamber pop collective The Earlies, followed by three albums of original material
and one all-covers album. In 2011, a near-fatal car crash paralyzed his arms for
months. He spent his recovery time listening to some demos he'd made before
the crash. The material eventually culminated in the darkest and most intensely
personal collection of songs from him thus far and garnered widespread critical
acclaim. (Micah P. Hinson & The Nothing). Since then, each record is a final
confrontation with himself, each song shakes with danger. I Lie To You, the new
Micah P. Hinson album, comes from five days and five nights of recording in
Irpinia, South Italy, with production by Alessandro Asso Stefana (PJ Harvey, Mike
Patton, Vinicio Capossela). Accompanying Micah and Asso are Raffaele Tiseo's
celestial strings, Zeno De Rossi metaphysic drumming and the double bass
gentleman Greg Cohen. On this new album he sings, with his weathered, husky,
prophet-like voice, eleven tales of love, loss and regret, which once again reveal
his heart as an artist laid bare.

Recorded and produced in their top of the range, custom-built analogue
home studio based in their Liverpool flat, forthcoming album HISS was
painstakingly and lovingly crafted by the band, who reveal themselves as
true audiophiles and songwriters of the highest calibre in the process
The record sees the band coming full circle, triumphantly returning to the lofi
roots that began their journey. Traversing the subsequent ups and downs of indiepop stardom since their major label debut in 2017, the band have found
themselves most at home back where it all began "at the quiet, sentimental heart
of their delicately unfurling, midnight- hour- favouring songwriting magic, with
complete creative control."Of the cathartic nature of the undertaking, Halls says:
"HISS is as honest an album as I'll ever be able to make. It was winter 2020; the
whole world had ground to a halt, and the pain of being separated from pretty
much everything I love had begun to turn into music in my head."

After two years as a band, the up-and-coming folk-rock band, Gangar
finally releases their first EP! Gangar combines folk music with jazz,
metal, and rock in the most natural way
They find old traditional tunes in folk music archives and arrange them with
inspiration from bands such as Hoven Droven, AC/ DC and Meshuggah.
"Norwegian folk rock has been down and out ever since Gate was cool. Finally,
someone has done something about it! Nice, cool and fun, Gangar has
everything. If they don't make you happy, you are an angry person" – Tuva
Syvertsen
"Tre Danser" refers to the three tunes on the EP and to Gangar's signature dance,
"The Tree Dance", where you lock your legs, lift your arms, and sway like a tree
with the wind.
The three tunes show the broad musical spectrum in Gangar's repertoire, from
the heavily arranged heavy metal composition "Fjellets melodi", after Ola Loseth
(Rindal, More og Romsdal, 1897-1978), to a tune rocking like a merciless freight
train, "Reinlender fra Aseral", after Gunnar Austegard (Aseral, Vest- Agder,
1884-1973). "Gammel vals fra Rindalen" consists of a beautiful and sweet melody
in contrast to a hard and mean riff, meaning that you have to listen very carefully
to realize that it is a waltz.
Front person and fiddle player Mattias Thedens grew up in a folk music family,
having played Norwegian and American folk music since he was 9 years old.
Saxophonist Oskar Lindberget is firmly planted in jazz tradition, despite his young
age he has contributed to no less than 18 recordings. Guitarist Richard Max has a
background as a drummer and hardcore fan of prog metal, he's the cause of the
syncopated rhythms and guitar riffs with heavy distortion. Drummer Henrik
Dullum grew up with rock music, first time exposed to folk music when he moved
to the big city Oslo from Trondheim. Bassist Jonas Thrana Jensen has a basis in
popular music and rock, finding Gangar to peek his interest to explore the folk
music traditions.
"To headbang to three different traditional tunes, is something I never thought I
would do" – bassist Jonas Thrana Jensen
Mattias Thedens: fiddle, Hardanger fiddle; Oskar Lindberget: saxophone; Richard
Max: electric guitar; Henrik Dullum: drums; Jonas Thrana Jensen: electric bass
Produced by folk rock legend and fiddle player in Hoven Droven: Kjell- Erik
Eriksson

»Follower« is Abrahams’ 6th album for Room 40 and showcases his continuing interest in the ambiguous spaces between music and noise; tonality and atonality; rhythm and texture. All four tracks have piano as a key factor: in one instance, high-pitched and atonal; in another, emotive yet distant as if projected on to a screen. Follower presents the listener with a sound world of colourful juxtapositions, rich orchestration and organically open forms.

On the opening track, bass piano meanders through a wilderness of de-tuned bells and organ swells; a strange sort of festival. Low frequency sighs evenly punctuate, like a pump or a heartbeat. It’s a procession that takes it time as it wanders the terrain, brought to a close with transcendent distortion. On track 2, muscular modal piano surfs among waves of percussion and analogue synthesisers. A buffeting travel.

Tape



By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

»Pin down the dust« is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.

1970s/80s San Francisco art-punk band 14-track collection includes
remixed tracks and previously unreleased recordings
It's hard to let go of a good thing
More than four decades after The Mutants first appeared on the San Francisco
underground music scene, four of the original members are still playing shows
together under that name in 2022. After all, mutants are known to mutate, and
that's what this colourful, energetic musical collective has been doing off and on
since 1977.
Perhaps even more surprisingly, the sessions for their lone album, 1982's ‘Fun
Terminal’, continue to bring forth lost nuggets. In punk and new wave lore, ‘Fun
Terminal’ is considered a troubled project. Prior to the album's appearance, The
Mutants had released only one 7-inch single -- 1980s' ‘The Mutants EP’ -- and the
band also had songs featured on two local compilations. Both the EP and one of
the compilations were issued by 415 Records, the legendary Bay Area indie that
made the jump from the new wave trenches to the majors when they signed a
deal with Columbia Records in 1981. Many scenesters felt that The Mutants
should have begun album sessions for 415 immediately after the EP, but that
didn't happen.
Each of the 14 tracks on the new collection, ‘Curse Of The Easily Amused’ has
either been remixed, or sourced from previously unreleased tapes. Eight songs
have never been officially released on vinyl or CD in any form. The versions of
'Think, Think, Think' and 'Tribute to Russ Meyer' feature radically different
approaches than what was heard on the ‘Fun Terminal’ reissue.<

16 track compilation of 1980s classics.
Formed in Scotland in 1979, APB were a post-punk trio blending edgy
guitars with funk and new wave sounds
The band had many early 80s alternative radio and rock dance club hits including
‘Shoot You Down’, ‘Rainy Day’ and ‘Palace Filled With Love’.
New York-based Link Records originally issued ‘Something To Believe In’ in 1985,
and the ten- song title was perceived at the time to be APB's debut album
although it was actually a compilation drawn from the band's previous eight
independent singles. The band's 1981 debut single ‘Chain Reaction’ is now added
as a bonus track to the vinyl release, while that song and an additional five tracks
will appear on the expanded edition CD. ‘Danceability’ will appear in its original
mix on the vinyl LP, while the CD will feature the song in its extended ‘Danceability
Parts 1 & 2’ form.
"When I bought the second APB single, 'Shoot You Down'. I was blown away by
the pure energy and sparse funk groove that drove the record." said Matt Pinfield,
former host of MTV's 120 Minutes. "Over the course of the next few years, I saw
the band live about 15 times. They would always pack clubs in New York, New
Jersey, and Long Island -- anywhere they received airplay." In 2018's Beastie Boy
Book, band member Adam "Ad-Rock" Horowitz referred to ‘Shoot You Down’ as a
"punk dance-floor classic."
In 2022, APB remains an active touring band, which includes original members
Slater, Roberts and Cheyne. Over the decades, APB's sparse, rhythmic sound has
influenced everyone from the Red Hot Chili Peppers to Franz Ferdinand. A new
generation is primed to make their acquaintance.

Originally released in 2014, “Instruction Booklet N. 1232” marks the first cassette release on Dauw for Tatersall under his The Humble Bee moniker. Taking advantage of the format, each side on “Instruction Booklet N. 1232” is reserved for a single piece nearing the 20-minute mark.

“Exploding View” (aka Side A) swells into existence with a very grand sounding synth-driven melody. Of course the other thing that’s present is the decaying sound of the tape loop that’s working to bring that music to life. At first, the melody grows and grows, fairly undisturbed, but eventually the sound of so-much tape warble threatens the rising nature of the piece until it sounds as though it is one loop away from total decay and simply fluttering out of existence.

But of course that’s the point. There’s a tension between that grand melody that opens these moments and that warble. It’s a lesson in opposites: the mechanics of a tape loop, guaranteed to break down, placed in contrast with those signature Tatersall melodies, which somehow seem eternal. And just as that tension seems too much to bear — the melody dies to be replaced by something altogether new. What comes next is something much quieter, driven by a sub-aquatic bassline, some rhythmic tape hiss and some gentle piano.

It’s a very dramatic and sudden break. The technical elements of that could be attributed to Tattersall’s understanding of how far a melody can be pushed before it succumbs to the abuse of being processed out of existence — perhaps the tape had been looped and processed to its breaking point. Regardless of whether it was a technical or artistic choice, that hard break serves an important narrative function. Frequently in instrumental music, musicians play with opposites (quiet-loud, clean-distorted) to create a narrative to their work since they don’t have words/lyrics as a tool. In the case of The Humble Bee’s use of tape loops, one set of opposites in tension is always driven by the fragility of the melodies and the limitations of a machine guaranteed to inevitably decay the media it is designed to support. And where one thrives, the other takes a backseat. As side A winds down, the melodies are much more sparse — appropriate for en ending, yes; but it also gives more space for those hisses and crackles to claim their moment.

Side B is filled out by “Manual with Foot Pedal” and it begins as gently as its predecessor ended. Slowly eking outing it existence – it’s as if watching Tatersall set the board, showing his players on opposite sides of the table before really setting them in motion to do their thing. By the piece’s midpoint, melody has taken centre stage as a glitchy, piano-led rhythm marches its way forward, clearly carving out its space and claiming its territory. And almost immediately following that: the decay takes over again and those tape loops seem processed to near death — the melody almost barely decipherable as it flutters under the weight of the history of being looped/played ad nauseum. And in the very final moments, the melodies are sparse again, giving the tape hiss room to play its part — it’s as if Tatersall is giving both players enough space to take their final bows.

Tape



Originally released in 2019, Craig Tattersall unspooled a gorgeous tape of disintegrated piano meditations and dusty lower case ephemera.

On the A-side it’s a dreamily searching, silty flux of piano notes peeling in slow motion. Strings drift over, connoting cold breezes and infrasonic, spectral presences, but the effect is far from menacing, it’s more a tranquil shade of sublime, like those hours after midnight when the meridian sounds of road traffic and human life have ebbed off into the distance and you’re left with the sighing creaks of a room.

The sound is remarkably different on the B-side. Here the air gradually thickens with murkier sub-harmonic distortion, bordering on a seething sense of aggression relative to most of Tattersall’s other output, pushing the grim murk to a logical entropy that precipitates elegiac pauses for reflection and warbling closure.

Tape



The Manchester based artist Craig Tattersall aka The Humble Bee returns to Dauw with 2 longform compositions centered around piano. The recordings were partly captured by a contact mic attached to his garden bird feeder adding an organic and intimate touch to the music. Hence, the album presents itself as a more outside experience and complements the Autumn season quite well. Susurration is available as a limited risograph cassette edition and digitally with artwork for Skrew Studio.

For the occasion, the label decided to reissue Craig's earlier Dauw cassette releases including "Instruction booklet n. 1232", "Deathless songs" and "Things are sweeter when they're lost". These albums sold out shortly after their release or were not even available publicly until now. The original silkscreen artwork by Femke Strijbol has been reinterpreted with risograph techniques. These albums will be available separately on limited cassette editions.

re-release Typische Weihnachtslieder wie "Stille Nacht" haben die Meisten wahrscheinlich schon so oft gehört, dass sie zu beiden Ohren raushängen. Deswegen muss man in der Adventszeit trotzdem nicht auf die bewährten Weihnachtsklassiker verzichten. Denn mit "Noël Gospel" bringt das französische Label Wagram eine Kompilation heraus, die 15 ergreifende Gospelversionen bekannter, und auch einiger weniger bekannter Weihnachtstitel versammelt, zum Beispiel "Oh Happy Day", "Silent Night" oder "White Christmas". So ist für besinnliche Stimmung und ein aufregend neues Hörerlebnis gesorgt. Mit auf der LP vertreten sind die Superstars des Gospels wie Aretha Franklin, Mahalia Jackson, The Edwin Hawkins Singers, Elvis Presley, The Staple Singers, Johnny Cash und The Golden Gate Quartet. Hinzu kommen mit Louis Armstrong, Nat "King" Cole und Little Richard stimmgewaltige Sänger, die man auch unterm Tannenbaum immer wieder gerne hören mag.

Over the last two years, the Innate and We’re Going Deep labels – run by friends Owain K and Placid respectively – have become must-check imprints for those seeking brand-new, timeless-sounding electro, deep house, acid and techno. Now the pair are joining forces on a new collaborative venture that looks to the past for inspiration: InnDeep.

Focused on unearthing and showcasing slept-on gems from across the deep spectrum, the reissue-focused label will have an emphasis on UK producers and imprints whose work in the ‘90s and 2000s has arguably been criminally overlooked.

To kick things off, they’re taking a deep dive into the back catalogue of Headspace Recordings and Emoticon co-founder Tom Churchill, a Welsh producer whose trademark take on deep house achieved cult status in the late 1990s and early 2000s.

The Personal Interpretation EP was first released on Headspace way back in 1997, and dates back to a time when Tom was the very definition of a bedroom producer. He created the EP’s three tracks while still a teenager and mixed them down using the same pair of headphones he used for DJing.

Now painstakingly remastered, the EP sounds every bit as immersive and intergalactic as it did at the tail end of the last millennium. On the EP-opening title track, Churchill builds a sturdy, chunky groove out of clicking, hissing and metallic percussive elements and a wonderfully deep, tactile bassline, over which gorgeous chords, melodic motifs and eyes-closed vocal snippets stretch out as if reclining in the afternoon sun.

Churchill opts for a deeper, Detroit-influenced sound on ‘First Principles’, with undulating electronics and a raw analogue bassline working in unison with ghostly chords and deep space melodies, while ‘Crossed Wires’ is a tispy, off-kilter epic – all breathless drum machine rhythms, pots-and-pans percussion, woozy chords and weighty sub-bass. It provides a fittingly energetic, out-there end to a long-overlooked EP that remains as fresh now as it did back in 1997.

Extremely rude, extremely powerful, extremely Detroit. You will never miss this one if you are on the dance floor. The boss of Visillusion records was one of the first music producers and DJ’s who dipped his toes into the deep black pond of techno. Actually, that was so long ago that nobody knew the name of this genre at the time. From 1987 he has appeared under different monikers around the globe for many occasions and he is definitely cannot be stopped.

Fresh three-tracker from Thomas Barnett is a gold horse. Moscow-based Exarde has got you covered if you are one of those DJ’s who like lifting heavy weights. Just pop the A-side on the deck without even looking and let this warehouse bounce. But don’t forget to flip it in a few minutes because the B-side has a more experimental feel if we might say and just can’t be missed by any electronic music aficionado.

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

Three generous portions of blissful beats on the Electric Shrine imprint, kicking off with the downbeat (in BPM terms) but lively 'Solar Visions' coming on like a dub mix of a lost Chic classic, 'What You Love' more like prime-era John Carpenter remixed by a mischievous Orb and 'Un Amore Supremo' a slow motion (one of the slowest we've ever encountered) reverb-fest, designed for more eccentric chillout rooms. And that's all before the opera singer pitches in.

Ever spent Christmas in New
York City? It’s pure magic…the
department store decorations,
the nip in the air putting color in
the cheeks of eager shoppers, the
general spirit of bonhomie that
pervades the street and subway,
and—if you’re lucky—the silent
beauty of a fresh snowfall reflecting
in the streetlights. Having grown
up in New York, Lea Michele knows
well just how spectacular New York
can be during the holiday season;
and on this, her Top 40 2019
album, the Glee star (currently
playing Fanny Brice in Funny Girl on Broadway)
captured a sleigh-full of that Yuletide joy. The centerpiece of the
record is “Christmas in New York,” an original that, in her words,
“paints this beautiful picture of New York, but it also is really about
what it means to be with your family and friends and engaged in that
holiday spirit.” The rest of the record, which is produced by Glee
producers Alex and Adam Anders, is equally transcendent, featuring
duets with fellow Glee stars Jonathan Groff (the voice of Kristoff
in Frozen) and Darren Criss, plus a showstopping vocal display on
“Angels We Have Heard on High” with Cynthia Erivo. For its vinyl
debut, Christmas in the City comes to you in a gatefold album jacket
containing a printed inner sleeve featuring beautiful shots of Lea
spreading some Christmas cheer. A snow white vinyl pressing limited
to 1500 copies…Merry Christmas!