Cerca:green river

The long awaited reissue of one of the bests albums of rare Eastern and psychedelic Jazz by the famous Hungarian guitarist. Carefully remastered by prolific Grammy nominated sound engineer Jessica Thompson. For fans of Grant Green, John Abercrombie, Pat Martino, Joe Pass, Wes Montgomery, Tal Farlow. Ultimate collector’s item for those who are deeply in Jazz and guitar music.

Third Pressing of Gilroy Mere's Adlestrop on blue vinyl with a blue cover.

Adlestrop is inspired by the remains of the rural railway stations, that were closed in the wake of the 1963 Beeching Report.

“This record started with Edward Thomas’s poem Adlestrop and a chance visit to the village that it takes its title from. I wanted to see the station, but found it was no longer there, all that remains is the old platform sign Adlestrop, now part of a local bus shelter. However as I walked around the village I was struck that; “all the birds of Oxfordshire and Gloucestershire” were still singing away - like ghosts from Thomas’ verse.

Visiting Adlestrop spurred me to get hold of a copy of the Beeching Report which, in Appendix 2, lists all the services and stations recommended for closure in the 1960s. The names read like an epic British poem, from halts to branch-line stops and stations and singular terminals for public schools, mines, ferries and even an asylum. There’s Ravenscar where a resort was planned but got no further in its construction than the station, and a hotel - the grid marked out for the roads never laid. Bethesda, a short branch line from Bangor up towards Snowdonia, was used for slate and passengers and is now just a quiet green valley, Christ’s Hospital on the old Cranleigh Line, opened with seven platforms to cope with the daily flood of pupils attending the famous school nearby which never came as it was a boarding school. Many of the stations have vanished, with just fields and car parks left in their place, some are repurposed as houses, or shops, or abandoned as artefacts of a lone-gone industrial past.

Armed with a digital recorder, and with a copy of Beechings Report as my guidebook I made notes and recordings on my travels around the country, and used them as the starting point for a set of pieces that try to capture the fading layers of history, in the areas where the stations had once stood making sure each track retains something of the real place within them. Back in my studio I reacted, improvised, and crafted musical responses to each station, trying to capture the ghosts and former lives of the stations and their imprint on the present.”

Gilroy Mere is Oliver Cherer who trading as Dollboy, Rhododendron, and Australian Testing Labs as well as his own name has meandered his way through the backwaters of left of centre English folk, ambient and electronic music, issuing numerous albums of original music to much critical acclaim via highly regarded boutique labels such as Static Caravan, Second Language, Deep Distance, Polytechnic Youth, and Awkward Formats.

We're proud to present the debut album by East-Sussex raised, London-based guitarist, composer and producer Peach Banquet (aka Jonathan Palmer). 'Rubber Leaves', a collection of solo guitar improvisations, invokes the feeling of jumping into a cool river in a heat-fogged daze, with meandering guitar lines that bubble and multiply like frogspawn before evaporating immediately into the ether. Recommended if you like Matsuo Basho's travelogues / haikus, John Frusciante's 'To Record Only Water for Ten Days', or Knobs youtube guitar pedal demos.

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It's an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skott and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skott: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso.

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Felicity is an Australian sound artist, composer and educator based in Berlin and her latest effort "Train Tracks Recorded And Edited By Felicity Mangan" will be out world wide on tape and digital December 9.

"Train Tracks Recorded And Edited By Felicity Mangan" composed of field recordings was made during a Green Tour, while traveling only by train and ferry through Denmark, Sweden, Finland and Norway in June 2022.

For this release Felicity utilised raw and sampled field recordings to create a sense of slow travel by train, train networks, train delays and the moments in between waiting for trains or missed train connection in cities and small towns.

Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy, RIVERSSSOUNDS.org and recently sound design for 100 Climate Conversations , Powerhouse Museum, Sydney, Australia.

““Stations In Between” establishes a pulse early, recreating the initial excitement that turns to tedium. Four minutes in, the drums disappear, swept away by chimes; no longer stuck, the passenger is moving forward again. The station comes to life: another radio, a street musician, a bicycle, a cough ~ the last sound bearing a reminder of the last two years.”
Richard Allen — A Closer Listen

“the elements of sound are manipulated for effect, and the performance nature of Mangan’ work tends to be an effects driven construction of collated and improvised sounds.”
INNERVERSITYSOUND — Cyclic Defrost

“Throughout the album, it sounds rather as if Mangan had written elaborate electronic music permeated by discreet rhythms and pulsating drones equipped with a whole range of devices. The fact that this is not the case is as impressive as the actual music itself.”
— Fieldnotes Berlin

Many Worlds Interpretation is a collection of cosmic Americana for electronics, guitar, and percussion culled from Jon Iverson’s extensive home-studio archive. 1984, Los Osos, California. In a small cinderblock cottage, hand-painted with bright psychedelic flora, Jon Iverson created vibrant new worlds. He spent long days and nights immersed in sound, perfecting home recording on his 8-track reel-to-reel, combining his love for kosmische and Berlin School electronics with an infatuation with ethnographic sounds and expansive guitar music. In a duo with fellow sonic traveler Thomas Walters, Iverson released missives from the studio on a self-titled LP released on country legend Guthrie Thomas’ Eagle Records. That release featured
three electro-acoustic compositions (“Naningo”, “River Fen”, and “Fox Tales”) as well as a gathering of guitar duo tapestries. Many Worlds Interpretation re-imagines those interplanetary works alongside several unreleased compositions that also feature synthesizer, guitar, and percussion, creating a re-visioned album which leans into Iverson’s electronic studio wizardry.

All songs have been carefully transferred from analog tape to high resolution digital, retaining their vintage studio warmth, but mixed and mastered for modern ears and audio systems. The album is pressed at 45rpm, further enhancing the audiophile experience.

Artist Statement

I worked in a Harley Davidson parts warehouse in the summer of 1976 in the San Francisco Bay Area. The goal was to save enough money to buy transportation for college and a Teac 4 track 1/4" reel to reel tape machine. By September there was a rusting monkey-vomit green car in the driveway and shiny new Teac with a Sony condenser microphone in the bedroom. At this point I had been playing guitar for a dozen years and like most children of the sixties, dreamed of joining
a band.

Went to college instead to study business.

But all was not lost. 1978-1979 was spent as Weird Al Yankovic's roommate and we recorded and created enough songs to play shows around San Luis Obispo, California, where we were attending college. Many of those recordings have yet to be heard by the public, including the first performances of My Bologna and many other parodies of pop songs of the day. We sent tapes to Dr. Demento, we auditioned for The Gong Show and were barred from playing at the local college after one memorable performance. Wild times.

I, however, was more intent on working on "serious" music, with albums from Vangelis, Tangerine Dream and Jean Michel Jarre providing inspiration. DJing at the local college radio station and then public radio outlet provided exposure to an endless stream of obscure albums (Sky Records from Germany was a particular favourite). Most of them would never make it to the air, but my buddies and I would pass them around like exotic treasure.

Fast forward a couple more years and I had picked up a Mini-Moog and eventually a Prophet V synthesizer as well as starting a collection of instruments from around the world. The Teac and synths formed the basis for a growing DIY studio that had taken over a modest-size garage (pictured on the cover) that had been converted into a two room cottage in Los Osos, California.

The Teac was eventually joined by a rented Otari 1/2" 8-track and then finally a vintage MCI JH-100 2" 16-track. The compositions on this album were recorded on these three machines between 1982 and 1989. At some point an Apple II computer with Alpha Syntauri sound card and keyboard were added and then later the first personal computer sampling hardware/software kit, the Decillionix DX-1. The DX-1 forms the rhythm track for “Fox Tales” and the Alpha Syntauri was programmed to create the pulsing synth for “Naningo”. “River Fen” was tracked with both the Alpha Syntauri and the Prophet V.

I knew this music wasn't commercial, but didn't care. It was inspiring working with the first computer-based synths and semi-pro gear. Home studios were still rare in the early 80s until the Tascam Portastudio blew the DIY door wide-open. But I was more interested in sound quality so stuck with reels of tape instead of lower fidelity cassettes.

During the time these songs were recorded, I was also collaborating with my good friend and mandolinist, Tom Walters. “River Fen”, “Naningo” and “Fox Tales”, were solo recordings that also ended up on the first Iverson & Walters album, First Collection. The other four pieces on this new LP were never fully finished or released until now.

— Jon Iverson, September 2022

Eclair Fifi is back with the first new release on her River Rapid label in 2 years. Rapid Remixes brings together two of her favourite producers - Montreal legend and fellow LuckyMe alumni Jacques Greene and rising NYC star AceMo - to reimagine 2 key tracks from the labels previous releases - DC Salas and Santiago Salazar. These have been secret weapons amongst select djs for a while.

Known for creating the soundtrack of a generation, legendary singer/songwriter and Rock and Roll Hall of Fame member JOHN FOGERTY celebrates 25 years of BLUE MOON SWAMP. As co-founder of Creedence Clearwater Revival (CCR), the group’s chief musical architect, and as a solo artist, Fogerty’s works rank as some of the most influential in American music history. Originally released May 20, 1997, BLUE MOON SWAMP won Best Rock Album at the 40th Grammy Awards in 1998, with the song “Blueboy” receiving a Grammy nomination for Best Male Rock Vocal Performance that same year. BLUE MOON SWAMP would go on to receive gold certification by the RIAA. The 25th anniversary release features revised cover art from the 2018 edition, showcasing the famed concert backdrop from the album’s original supporting tour. The album features contributions from Chad Smith of the Red Hot Chili Peppers, Howie Epstein of Tom Petty & the Heartbreakers and Donald “Duck” Dunn of Stax Records-fame. With a career spanning more than 50 years, JOHN FOGERTY is hailed as one of the most influential musicians in rock history. As the writer, singer and producer of numerous classic hits including “Born on the Bayou,” “Green River,” “Proud Mary” and “Bad Moon Rising,” Fogerty has been honored as one of the 100 Greatest Guitarists, 100 Greatest Songwriters, and 100 Greatest Singers by Rolling Stone. Earning induction to the Rock and Roll Hall of Fame, Songwriters Hall of Fame, and Baseball Hall of Fame, he is also a New York Times bestselling author for his memoir, Fortunate Son: My Life, My Music.

City Of Light was recorded in Banaras, India, and mixed in Greenpoint, NY. It is about Banaras, a city older than history, tradition, and legends. It is Shiva's land, founded at the dawn of creation. It is India's oldest and most fabled city. The Hindus call it Kashi, the luminous... The City of Light. Music composed by Bill Laswell + Coil, Trilok Gurtu, Tetsu Inoue, and features texts and vocals from Lori Carson and an historical introduction by Hakim Bay. First time ever on vinyl, re-released in our Sub Rosa Blackcore series. City of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banarasalso contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced featuring Trilok Gurtu on tablas, Coil (Peter Christopherson + John Balance) on electronic, Tetsu Inoue at sound collages and Lori Carson at vocals. Track Listing LP side 1 01 Nothing 13'03 02 Kashi 7'19 side 2 03 Kala 13'06 04 Above the Earth 11'19

il Holmström and Peter Wikström are a duo from Northern Sweden. The duo have collaborated with many artists over their almost twenty year long music career such as 4th Disciple, Dwight Trible, Carlos Niño, Fennez, Green-House, Laraaji, Lo-Fang, Masayoshi Fujita, Purl and many more.

»The Road Not Taken« is the tenth released studio album from Ecovillage and the first one released on vinyl. The album has a more sacramental and human feel to it compared to their previous work.

2x LTD CLEAR VINYL
Limitiertes, durchsichtiges Doppelvinyl inklusive Downloadcode!

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .

Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

Katy J Pearson shares details of her stunning new album,
‘Sound of the Morning’, released on Heavenly Recordings.

 Written and recorded in late 2021, Katy’s latest effort is coproduced by Ali Chant (Yard Act and the helm of Katy’s debut,
‘Return’) and Speedy Wunderground head-honcho Dan Carey
(Fontaines D.C.).

 Katy’s recent extracurricular activities have shown that she can
dip a toe into a multitude of genres - providing guest vocals on
Orlando Weeks’ recent album ‘Hop Up’; popping up with Yard
Act for a collaboration at End of the Road festival; singing on
trad-folk collective Broadside Hacks’ 2021 project ‘Songs
Without Authors’. ‘Sound of the Morning’ takes that spirit and
runs with it.

 ‘Sound of the Morning’ is an album that’s as comfortable
revelling in the more laid-back, Real Estate-esque melodies of
lead single ‘Talk Over Town’ - a track that attempts to make
sense of her recent experiences, of “being Katy from
Gloucester, but then being Katy J Pearson who’s this buzzy
new artist” - as it is basking in the American indie pop of ‘Float’,
penned with long-time pal Oliver Wilde of Pet Shimmers, or
experimenting with the buoyant brass of ‘Howl’, in which
Orlando repays the favour with a vocal guest spot.

 ‘Sound of the Morning’ is available on CD and on clear vinyl in
‘Tip on’ sleeve with folded poster insert and digital download
code. (Once the above vinyl format has sold out, a standard
black vinyl version - HVNLP204 - will be made available.)

 Katy heads out in September for a headline UK tour, before
which she plays a number of summer festivals across the
country.

 Tourdates - August 19 Green Man, 21 Beautiful Days Devon,
September 8 Trinity Bristol, 9 Cornish Bank Falmouth, 10 Cavern
Exeter, 11 Joiners Southampton, 13 Chalk Brighton, 14 Olby’s
Margate, 15 Electric Ballroom London, 17 Brudenell Social Club
Leeds, 18 The Cluny Newcastle, 20 Voodoo Rooms Edinburgh, 21
Mono Glasgow, 22 Gorilla Manchester, 24 Float Along Sheffield, 25
Rescue Rooms Nottingham, 27 Clwb Ifor Bach Cardiff, 28 Hare &
Hounds Birmingham, 30 The Bullingdon Oxford.

A rigorous recollection of all the music that went into last year's Netflix smash The Queen's Gambit. You were probably too busy trying to keep up with actress Anya Taylor-Joy's timer-stopping and piece-placing chops to notice the ingenuity of the soundtrack; packed with contemporaneous music to the time in which the series is set, from Donovan to The Monkees to The Vogues, we're duly thrown back by this new 2xLP edition (which comes to a special black and white colour vinyl). Check it, mate.

Dark Green 12" Vinyl Limited to 1000 Vinyl Includes Exclusive bonus track 'Restless'

“The things you hear when you’re alone. Walking through Mount Royal or other wooded areas you might notice a branch break. As much as I value my alone time and the subtle things you can pick up around and within yourself in those moments, a certain loneliness and anxiety permeates the quiet at some point. The past couple years created ample opportunity for that anxiety and loneliness to stretch its legs and make itself comfortable. This record was born out of weeks of willing a form of peace and inspiration into my surroundings. A large part of that came from working with Leanne Macomber on some vocals. Through a desire to form new connections and throw more humanity into the work. We made a variety of song sketches that I mostly reworked into the final recordings here. We spoke a lot about where our heads were at, certain key phrases, triggers and emotions. Joel Ford, whom I worked on Dawn Chorus with, mixed the record and helped me wrangle a few cats to get this across the finish line. Restless at home in Canada, feeling the restlessness of all my friends and loved ones I kept in touch with as much as possible, trying to make something that made the quiet a bit more peaceful."

Luigi Grasso rubbed shoulders, when he was twenty, in New York. He then fed on all those artistic possibilities that thrive in the big apple, and bit into it with full teeth, with fierce greed. Jazz was already flowing in his veins, and he was going to enrich this impetuous river of multiple confluences, which he discovered in the prolix underground of the city universe. Meetings, musicians, friends, artists, approaches, differences, additions, mergers, the Italian had found his America for the best and for the sake of it. In words and music. As in Greenwich Village, where he would find a refuge nest in 2O14. In the heart of Manhattan between Soho, Broadway, Chelsea, Hudson. This once bohemian neighborhood, where trees thrive at the foot of red brick buildings, is more often called "the village". Here the young saxophonist from the south of Italy will pose his audacity and his appetite. He will quickly fraternize with the best, in this refuge for artists where gospel, rock, rap, soul and, above all, reign supreme, reign in gospel, rock, rap, soul.

Michael Hurley's first new studio record in 12 years features eleven songs recorded in Astoria, Oregon during the brief time of year when the foxgloves bloom. Hurley had been workshopping the set at home for the past few years. Friends and collaborators came into town and contributed from afar. The songs are lifted by violin, organ, upright bass, banjo, percussion - but at the center, of course, is the enigmatic Snock, whose songs have grown only more unique and more 57 years after his debut album (First Songs - Folkways, 1964). It could only be Snock. Heartbreaking, heartfelt, easy and carefree. The glorious opener “Are You Here For The Festival” – punctuated by a pair of violins – came to him while working in the garden. “Little Blue River” floats by on a cloud. The haunting “Jacob’s Ladder” sounds beamed in from another era. Or dimension. Foxgloves is as comforting and wonderful as any Hurley record that has come before it.

Bear's Sonic Journals: Johnny Cash, At the Carousel Ballroom, April 24, 1968 — Johnny Cash

Kit Records founder and NTS resident host Richard Greenan returns with his first solo record in six years. "Rehearsing Heat" paints layers of ornamental pop, rumblingly playful hip-hop, widescreen swathes of drone and beyond - with a wide cast of friends and collaborators taken along for the ride.

Recommended if you like Rachel's, Susumu Yokota, Colleen.

Ocean Tales, Julien's second Santpoort album on Friends of Friends, takes another step into his past while artistically leaping forward. Steel-toned kalimba melodies that glint like sunlight on crystalline waves, poignant piano, resonant bass lines, soulful blues guitar - Julien plays them all to create richer, more layered lo-fi composition sof hip-hop, electronic, ambient, and blissful psych-pop, accenting many with chirping birds and recorded sounds from nature. He also collaborates with musicians like Canadian electronic duo Tennyson and Sydney songstress Little Green, the dewy-eyed lyrics of everyone involved conveying the inherent longing at the center of Julien's Santpoort project more powerfully than ever before.

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

Soul Jazz Records new 'Two Synths, A Guitar (and) A Drum Machine' is a new collection of current D-I-Y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid). Other influences cited here include Manchester and Sheffield's industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can. Featured artists from around the globe include Los Angeles D-I-Y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, VexRuffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups. That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip-hop, the electronic European avant-garde, rave culture, and more.

The 1994 compilation featuring Charles’ Atlantic era hits such as “What'd I Say, Pt. 1 & 2”, “The Right Time”, and “I've Got a Woman”.



















s D4. Tell The Truth (with introduction) Live at Alonzo Herndon Stadium, Atlanta, Ga, 5/28/1959

There is a blink-and-you’ll-miss-it anecdote tucked into one of
the many fine documentaries about seminal 20th Century artist
Jean-Michel Basquiat regarding the habits of his studio practice.
As we watch inspiring footage of Basquiat darting from one
piece to the next with rapid-fire brush strokes, a friend or
gallerist in a voice over says that it was not unusual for
Basquiat to be working on several paintings in the same
moment as several radio stations and televisions played in the
background. Not much more time is spent on the anecdote but
it feels like a skeleton key into Basquiat’s endlessly alluring,
neoexpressionist work.
And while Bryan Devendorf’s solo curio ‘Royal Green’ doesn’t
possess the only-in-New York vibe of Basquiat’s work, there is
something shared in its many-channels-open style of creation.
Satellite signals, strange voices from lost television
documentaries and radio operas are all woven into its fabric -
like it’s using these endless tides of media and information to
unlock the subconscious. Even its covers - Bob Dylan,
Fleetwood Mac, The National (with a nice big wink), The
Beatles - are like stunning, albeit satanic takes on hymns, or
like American standards almost dragged into the underworld.
Like the best of Spacemen 3, Sparklehorse or massively
underrated San Fran band Skygreen Leopards - the music
makes you queasy in one movement and lulls you into
blissmode in the next. It’s the very edge of outsider pop
songwriting.
For all the amphitheaters and festival fields Devendorf has
played to over his career, ‘Royal Green’ almost feels like an unlearning and a newfound love of homemade/found/fractured
sounds - and how, if collaged just so, detritus can become
stunningly gorgeous and surreal. And not without hooks. Look
no further than ‘Frosty’, which could be Little Billy Corgan’s
decayed demo tape from just before the Smashing Pumpkins
appeared on the scene. And the unspooling, slightly unglued
dream-pop of ‘Breaking the River’ is as rapturous as it is
sinister. And that’s probably where Devendorf wants it.

There is a blink-and-you'll-miss-it anecdote tucked into one of the many fine documentaries about seminal 20th Century artist Jean-Michel Basquiat regarding the habits of his studio practice. As we watch inspiring footage of Basquiat darting from one piece to the next with rapid-fire brush strokes, a friend or gallerist in a voice over says that it was not unusual for Basquiat to be working on several paintings in the same moment as several radio stations and televisions played in the background. Not much more time is spent on the anecdote, but it feels like a skeleton key into Basquiat's endlessly alluring, neoexpressionist work. And while Bryan Devendorf's solo curio `Royal Green' doesn't possess the only-in-New York vibe of Basquiat's work, there is something shared in its many-channels-open style of creation. Satellite signals, strange voices from lost television documentaries and radio operas are all woven into its fabric _ like it's using these endless tides of media and information to unlock the subconscious. Even its covers _ Bob Dylan, Fleetwood Mac, The National (with a nice big wink), The Beatles _ are like stunning, albeit satanic takes on hymns, or like American standards almost dragged into the underworld. Like the best of Spacemen 3, Sparklehorse or massively underrated San Fran band Skygreen Leopards _ the music makes you queasy in one movement and lulls you into blissmode in the next. It's the very edge of outsider pop songwriting. For all the amphitheaters and festival fields Devendorf has played to over his career, `Royal Green' almost feels like an un-learning and a newfound love of homemade/found/fractured sounds _ and how, if collaged just so, detritus can become stunningly gorgeous and surreal. And not without hooks. Look no further than "Frosty" which could be Little Billy Corgan's decayed demo tape from just before the Smashing Pumpkins appeared on the scene. And the unspooling, slightly unglued dream-pop of "Breaking the River" is as rapturous as it is sinister. And that's probably where Devendorf wants it.

Like the Grass documents and reimagines a warm summer's evening in Basel, Switzerland, in June 2018. Four musicians convened: Johannesburg composer and bow expert Cara Stacey, South African violinist and composer Galina Juritz, German harp player Antonia Ravens and Swiss guitarist and sonic explorer Beat Keller.

Together they improvised using a graphic score titled "Luhlata njengetjani" ("Green like the grass" in the southern African Siswati language), inspired by the rivers of eSwatini, blackbirds in the parks of Basel and the evocative, red-flowered umcinci or erythrina tree. The South African umrhubhe mouthbow's dense harmonics folded around skittering, fractal violin loops; temperate swells of guitar were punctuated by agitated harp pings and the hearty thuds of Ugandan and Mozambican lamellophones.

This joyous, unfettered outpouring criss-crossed between southern Africa and Europe, forwards and backwards, for the following two years. The fruits were unpicked and rewoven into new mosaics by Cara, Galina, and two of our favourite recording artists, Object Agency and Hello Skinny.

Recorded as part of Cara Stacey's studio residency in Basel, Switzerland, supported by ProHelvetia Johannesburg.

Andras’Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70's acid folk and 90's acid house, Joyful is an invitation to till a n old garden in a glistening new light.

A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.

Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70's and dance music from the 90s becomes perfectly audible in unimaginable ways.

Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.

Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.

Andras’Joyful is available on LP and digital formats on January 31, 2020 via Beats In Space. On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.

Pudel Produkte UG Ltd. information.
The Pudel Produkte UG announces, that they will now go along with it. They finally found time for future - just like the others.

But the others - They don't have him anyway: The Pudel. They have safes, hill forests, studios with numbers, power stations or factories, water gates, green valleys or rich beautiful ageless brits with mirrors and thousands of other cheap opportunities. Well. Whatdoweknow. We can only talk about the Pudel. This bare and pure creature. That poodle without an egg.

"Ich und mein Pudel" (Me and my poodle) is the name of the new anthem of our house written by the noble mould punk Rocko Schamoni. The original version on his album "Musik für Jugendliche" (music for teenagers) swings by in some quite bavarian hump-pattatata leather shorts. Alongside with that, a brass commando shows up in such a beyond comfy speed - it needs to lie down to wake up. All that is different, yet, of course, sick. But we all know: No Pudel may remain alone!

Therefore: PUDEL PRODUKTE 30 is out now! A fat 12" with remixes of: DIGITALISM/ FALTY D/ BRAND BREWER FRICK/ PULSINGER & IRL. (Cover by Alex Solman).
Plus: many more remixes online. Its the Pudels online-coming out prom night - if you like. A win for the future - probably for sure.

PUDEL PRODUCTS
Always far away from the pack against the pack!

R.S. (And at night under the stars, by the river, I am alone. You cant remove me, never will, cause i want to be here."

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

The unseen forces emitting out around ever being natures forces of destiny. Belief itself is God.

AURA's journey could be best described as a spiritual call to connect man and music.

Each new day brought in new and more difficult problems. In the hardest of times Aura lost their original lead guitarist. Green-Bird real name Dannie Stewart - a Jamaican, humble, handsome, and talented to the bones. He was too nice to die. He was drowned in a river within the historical city of Benin. All friendly hearts cried and cried, a memory too sad to recollect. Aura's journey sorrowly went along. Full of accedents, and frustration. We nearly crash-landed.

Thanks to Sheila, for her love and courage. Uzo, a true frendship that inspired every-body in Aura. He solved so many problems. Gratitude is the only word of our choice. The Lawsons and the Shotade family also have their very noble thanks; they were nice and helpful. Many more thanks to the numerous friends and heart-felt appriciations to Mr. J. H. Booth - Decca's new Director for his kindness and the entire staff that made this great 8 track maiden stereo album possible.

A solid belief in ourselves has pushed this group to this point; Aura making an "Astral Trip". This is an album which is a sincere sweet fruit of determination, soulful enough to turn you loose into true life experiences of good music.

All I owe you is love and appriciation.

In August 2000, Damon Albarn travelled to Mali for Oxfam's On The Line project (about people living along the Greenwich Meridian), intent on getting together with his favourite musicians there. In the capital Bamako and its surrounding villages, he sat in on club and private jam sessions, playing concerts and streetcorners, bars and boats.

Back home in London, more than forty hours of tapes were opened to other influences - reggae, dance, rock - and then the work in progress was returned to Mali, for further contributions from the musicians there: immersive and open, back and forth.