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Today, Los Diablos Rojos are known around the world for a unique tropical sound that has transcended passing fashions and managed to hold its own in an era marked by transience and oblivion. Over the years, they have become the forerunners of a trend that has been developing for half a century and is gaining more and more praise and recognition. They have become a musical reference for other contemporary tropical music bands that have found in Los Diablos Rojos, above all, an example of creativity and resilience.

The Peruvian cumbia band Los Diablos Rojos was born within the quincha and adobe walls of Cañete Chico with a proposal very different from what all the musicians of the time were working on: an instrumental tropical music style of their own. Even Enrique Delgado (Los Destellos), Beto Cuesta (Los Ecos) and Berardo Hernandez (Manzanita y su Conjunto), who all found a source of income in música criolla, did not limit themselves to working for hire. They were all crossing the same bridge, the bridge of tropical music. Above all, the sense of renewal was the incentive for this bet. If they wanted to change the paradigm, they would not do it by copying styles they had already heard many times before.

In 2013, Marc Almond realised the then ambition of his creative
career when he collaborated with legendary producer Tony Visconti
(David Bowie, Hazel O'Connor, T-Rex, Morrissey). The evocative
results of their unique collaboration can be heard on the opening
tracks ‘The Dancing Marquis’ and ‘Burn Bright’.
In collaboration with record producer Tris Penna, Tony Visconti also
lends a helping hand with string arrangements and mixing duties on
two further tracks; ‘Tasmanian Tiger’ and ‘Death of a Dandy’, the
latter lovingly inspired by the tragic and sudden death in 2010 of
Soho’s renowned hedonist, the writer and artist Sebastian Horsley.
Continuing in this collaborative vein, ‘The Dancing Marquis’ also
features the talents of Martin McCarrick (Siouxsie and the
Banshees, Therapy?) contributing cello on the hearteningly buoyant
‘Burn Bright’, and strings on title track ‘The Dancing Marquis’, a song
which Marc penned with Henry Paget, the 5th Marquess of Anglesey
very much in mind. Jarvis Cocker (Pulp) contributes an infectious
electro-pop song that he wrote especially for Marc, ‘Worship Me
Now!’ - he also features on backing vocals and production duties in
conjunction with Jason Buckle (The All Seeing I).
‘Love Is Not On Trial’ saw Marc once again collaborating with Carl
Barât (The Libertines), his co-star in the 2012 opera ‘Poppea’ as
performed at Théatre du Châtelet in Paris. Produced again by Tris
Penna, the song was written especially for Marc by Carl, who also
features on guitar and vocals.

“I am OBSESSED with the 80s. I love the loud neon colours and fashion and the kinetic energy of the music. It’s uplifting and bittersweet with a ton of keyboards, what’s not to like?” reasons Morgane when asked what it is she likes about the decade. This exuberance is brightly reflected in the mirror ball synthpop of her third album released at the end of September. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label.

Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup (her favourite) and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. “They gave me 40 songs to learn, it was a baptism of fire”.

After leaving Stereolab, Morgane first moved to New York for nine years; she’d always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album’s thumping heart is pumped by the city’s night sky and when asked she cites three particular albums as her favourites: the oddball analogue electro of Jacno’s 1979 debut; John Carpenter’s ‘Escape From New York’ and The B-52’s ‘Cosmic Thing’. There’s also a strong nod to the playful computerised harmonies of Yellow Magic Orchestra whilst she’s somewhat partial to the synth prog of Yes and Soft Machine. “I actually created a synth on Ableton Live named after Rick Wakeman’. I should create one after Mike Ratledge next!”

Throughout her work (but especially on this record) you can hear the influence of computer games. “I’m an avid gamer and have been one since I was a teenager and fell in love with my Commodore 64”. Though not a fan of Hotline Miami or the GTA series (“too violent”) she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. “I just got the soundtrack reissue from Data Disc and it is beautiful” she enthuses.

You’ll see and hear such influences on the lead single from the album ‘Midnite Rogue’ the video to which pays (im)perfect juddering homage to such arcade culture. Car tyres glued to sticky tarmac, French pop music lost in the air. The title was inspired by a Fighting Fantasy book which she adored as a kid. “I love the idea of this entity causing mischief during night time”, she beams. It’s not hard to see why.

New Milestone AOR Album Release by Joseph Williams, Bill Champlin, and Peter Friestedt!

Exciting Collaboration: TOTO singer Joseph Williams teams up with former Chicago singer Bill Champlin and Swedish guitarist/producer Peter Friestedt for an exhilarating new milestone AOR release! This collaboration follows the immense success of their album "CWF II" and the "Live In Concert" DVD, which soared to the top of the Swedish charts.

Everything Around You is a co-release presented by K and Perennial.The second LP from Feeling Figures was in fact recorded before their first. Amongst the stuttered starts and stops of the pandemic, a window opened for `The Figs' to commit 11 songs to tape. After gradually preparing new and resurrected material, they gathered in drummer T's basement in the omicron winter of early 2022 to document their strongest songs on his recently acquired reel-to-reel. Compared to `Migration Magic', `Everything Around You' is a considerably deeper dive into the Figs universe, a more deliberate collection that includes compositions which push into the expanse, drawing from a broader palette of art rock influences. The songs on this album navigate tensions between the personal and political, encompassing inner turmoil and deep-seated desires for change at the entangled axis of individual and social transformation. `Everything Around You' is their most fully-realized accomplishment to date; the best recorded representation of their boundless, idiosyncratic approach to guitar-based music. A summation years in the making, years in waiting, finally set free.

Deluxe Anniversary Edition. Jade Green Swirl Vinyl. LP+7". - Deluxe Anniversary Edition of LP celebratiing 10 years since it's initial release - Enclosed in hardcover photobook with 96 pages of photos from the era with liner notes from each member of Modern Baseball - Includes exclusive 7" with. It's been ten whole years of us listening to Modern Baseballl's iconic record You're Gonna Miss It All, and to celebrate Run For Cover has teamed with the band to deliver a deluxe anniversary edition worthy of it's legacy. This version of the band's second album is a collector's delight - two discs enclosed in a heavyweight, hardcover 12" x 12" book with 96 pages of photos from longtime collaborator Jess Flynn. Each member of Modern Baseball also contributed notes to provide context to the countless photos taken while touring, recording, skateboarding, napping, swimming and a whole lot more. This deluxe edition also includes two never-before released demos of "Rock Bottom" and "Pothole" pressed on an exclusive 7". These early, intimate versions show how the ideas behind these two favorite tracks progressed into the final takes that made it onto You're Gonna Miss It All. Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums.The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings and mastered by Will Yip, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Translucent orange vinyl. Chilli Beans. are a three-piece band from Japan, formed in 2019 by Moto (vocals), Maika (bass & vocals) and Lily (guitar & vocals). Their neo-garage style fuses indie rock with garage infused guitars and catchy melodies. Since 2019, the band has released 4 EPs and two albums on A.S.A.B. and played several nationwide headline tours in Japan. On July 13, 2022, Chilli Beans. released their first full-length album "Chilli Beans." including the hit singles "lemonade", "andron", "Tremolo" and "School". The song "you n me" from the third EP "mixtape" was selected as the opening theme song to the TV Tokyo J-Drama series "Play It Cool, Guys".

Sunrise Pearl Vinyl. Chilli Beans. are a three-piece band from Japan, formed in 2019 by Moto (vocals), Maika (bass & vocals) and Lily (guitar & vocals). Their neo-garage style fuses indie rock with garage infused guitars and catchy melodies. Since 2019, the band has released 4 EPs and two albums on A.S.A.B. and played several nationwide headline tours in Japan. Their second full-length album "Welcome to My Castle" was released on December 13th, 2024 and featured 13 songs, including the single "Raise" which was the ending song theme for the TV anime series "One Piece", as well as "I like you", the main song of the TV series "Toki wo Kakeruna, Koibito-tachi".

France-based, prog-rock power trio LIZZARD are out to reclaim the creative, collaborative energy that has fueled them for over a decade. On `Mesh', the band's fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late `90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge, `Mesh' is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it's regaining it or letting it go, run right through the album. Resounding with Elwell's inimitable, thundering drums and a barrage of colossal riffs, `Black Sheep' explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of `Mad Hatters' ask pressing questions of the people who are supposedly in charge of society. Epic album closer `The Beholder' captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox's signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band's formidable compositional prowess, `The Beholder' ends as it starts, a closed loop. With only Ricou's playful, pithy refrain of "What goes around, comes around" left ringing in our ears, LIZZARD masterfully frame `Mesh' as both a poignant conclusion to the last chapter and as a bright new beginning.

France-based, prog-rock power trio LIZZARD are out to reclaim the creative, collaborative energy that has fueled them for over a decade. On `Mesh', the band's fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late `90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge, `Mesh' is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it's regaining it or letting it go, run right through the album. Resounding with Elwell's inimitable, thundering drums and a barrage of colossal riffs, `Black Sheep' explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of `Mad Hatters' ask pressing questions of the people who are supposedly in charge of society. Epic album closer `The Beholder' captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox's signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band's formidable compositional prowess, `The Beholder' ends as it starts, a closed loop. With only Ricou's playful, pithy refrain of "What goes around, comes around" left ringing in our ears, LIZZARD masterfully frame `Mesh' as both a poignant conclusion to the last chapter and as a bright new beginning.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

The Man With The Horn is the 1981 album by Miles Davis, which he recorded after persuasion by his nephew Vince Wilburn, a drummer in a Chicago group that played music that combined funk, soul, and fusion jazz. Miles also met the saxophonist Bill Evans, the bass guitarist Marcus Miller and called the drummer Al Foster. The studio result was a hybrid record, divided between the Chicago group’s pieces that he himself referred to as “bubble gum music” and a very free jazz-rock. However, it's less somber and dense than the damp jungles he wandered through without direction during the 1970s. The hit “The Man With The Horn” and its sugary-sweet refrain received a lot of airplay on FM stations. Jazz lovers, rejoicing in Miles’ return, delighted in the rest of the repertory. But it was Mike Stern’s incandescent solo on “Fat Time” that everyone relished. The Man With The Horn is available as limited edition of 1500 individually numbered copies on gold and black marbled vinyl.

"Women + Country is the second studio album by singer-songwriter Jakob Dylan, son of the legendary Bob Dylan and frontman of The Wallflowers. The album is released in 2010 and produced by T Bone Burnett. T Bone, who has known Dylan since he was a kid, suggested the two make an album together after the singer played him the song “Nothing But The Whole Wide World"". Dylan recorded the album in less than a week in Los Angeles, with T Bone’s crack backing band, which includes Marc Ribot (a frequent collaborator with Tom Waits) on guitar and David Mansfield on fiddle and mandolin.

Women + Country is available as a limited edition of 1500 individually numbered copies on ash grey coloured vinyl and includes an insert with lyrics

Legendary UK band Asian Dub Foundation is celebrating its 30th Anniversary this year!

Asian Dub Foundation are a genre unto themselves. Their unique combination of jungliest rhythms, dub bass lines and wild guitar overlaid by references to their South Asian roots via militant high-speed rap has established them as one of the best live bands in the world. The story began in the early 90’s when ADF formed from a music workshop in East London at the institution which is their spiritual home, Community Music. Their unique beginnings in a music workshop in east London shaped both their sound and their educational aspirations, setting up their own organisation ADF Education (ADFED), plus instigating campaigns on behalf of those suffering miscarriages of justice.

Building a solid live reputation in the mid-90’s, they gained worldwide recognition sharing the stage with Rage Against The Machine, the Beastie Boys, Radiohead and Primal Scream. On record, they've collaborated with Radiohead, Sinead O'Connor, Iggy Pop, Adrian Sherwood, and Chuck D. In addition to their blistering live reputation ADF were one of the first bands to experiment with live film re-scores (“Cineconcerts”), beginning with their rapturously-received re-interpretation of the French classic La Haine back in 2001.

In 30 years, Asian Dub Foundation have racked up 1000’s of unforgettable shows, 9 studio albums alongside a social and educational activism that both created the group and sustains them today. In celebration of the longevity of this unique project they are announcing an extensive European tour for 2024-25 of more than 60 shows and a special album showcasing their many iconic collaborations. “94-Now: Collaborations” will be released on September 27, 2024!










h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) ADF30 Rework)








h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) [ADF30 Rework)

While Chicha Libre's second album, Canibalismo was inspired by the Peruvian Chicha explosion of the 70's, it also looked back to the cultural Cannibalism dear to Os Mutantes and other Brazilian tropicalists, as well as the production values of late 1960’s rock bands.

The group still pays homage to amazonian legends Los Wembler's de Iquitos, Los Mirlos and Manzanita, but mixes it up even more by combining mellotron and vintage synths with West African guitars, treated percussion, fuzztone and some R.D Burman-inspired arrangements. Originally released in 2012, this the first european re-release on vinyl.

7 years since it's release; the iconic debut from GODTET.

First repress since 2018.

Godtet is the debut LP and live band project from Sydney guitarist, Producer & Beat-maker Godriguez. Praised for his production on 'The Great Mixtape' for Sampa the Great, Godtet sees Godriguez stepping back into the live format of production with a full band.

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Basically, the CAR CRASH SET consisted of synthesists/composers David Bulog and Nigel Russell and guitarist/producer Trevor Reekie, and was formed in late 1981, then still with Nick Jenkins on synths. They created such outstanding electropop songs with a Roland TR-606/808 and such lovely sequencing, – e.g. “Fall from Grace” is definitely a song that Anna will take with her into her grave – that it is indeed a shame that they didn’t receive more attention. Anyway, their 1983 12” ‘Two Songs’ (including “Outsider” and “Fall from Grace”) and the V/A ‘We’ll do our best’ LP (including CAR CRASH SET’s “Toys”) are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days and seven more songs added to this CD version. CAR CRASH SET are currently recording again together though not only with the original Roland gear (“nothing else will do” as Dave once said): TR-606, Jupiter-4, MC-4, System 100m modular and System 104 sequencer as well as Nigel’s Korg MS20, Poly-61, Polysix and way more!

LP (3rd edition) features: limited edition of 317 copies, 180 grams yellow flame vinyl, A3 poster/revised lyrics sheet, sticker, revised hand-numbered double-sided postcard.

Ruby Wine Vinyl. Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Perpignan Burning: the Southern French capital of garage rock in search of the riff. Or as Lou Reed would put it: "You can"t beat two guitars, bass, and drums." Content: 27 previously unreleased tracks on the double LP and six digital-only bonus tracks. All tracks on this compilation were recorded in or around Perpignan, France, and go to the musical extremes of an extreme city. Whether garage punks or freakbeat mods, country punks or city rockers, whether pioneers or new to the scene: the only thing that counts is the riff. Pascal Comelade, infamous riff explorer since the 1970s, is the unlikely godfather of this bunch of punks and rockers. He opens the trip with his emblematic cover design and closes it with his own Riffifi orchestra to the ultimate riff of The Stooges" "I Wanna Be Your Dog".

Greasy Mike präsentiert 18 Scheiben Rott n' Roll-Platten aus Weirdsville, USA. Rockabilly, Garage, Psych, Surf, Horror, Swamp, Weirdo, Exotica - von Vampiren, Werwölfen, Ghostridern, Hexern und Monstern. "Hier ist niemand außer uns Monstern!", rief ich verzweifelt. "Monster? Hier sind keine Monster!", kam die Antwort aus der Dunkelheit, "Das sind meine Kinder! Meine Babys!!" Ich drehte meinen Kopf zurück und schrie die schattenhafte Gestalt an, die ich zurückgelassen hatte: "Das ist Hexerei, du verrückter Vollidiot! Du durchgeknallter, schizoider Abschaum!" Und damit verschwand ich durch die Leere und in die Nacht.

"Co-produced by Jerry Finn (Rancid, Green Day, Jawbreaker) and Butch Vig (Nirvana, Smashing Pumpkins), Sing the Sorrow retains the Bay Area outfit’s signature aggression and pathos – forging ever forward into uncharted territory like the virtuoso guitar intro of “The Leaving Song Pt. 2” or the industrial-leaning break and Dead Can Dance-worthy outro of “Death Of Seasons.”
Meanwhile, from its sublime intro through beautifully subdued verses and infectious choruses, first single “Girl’s Not Grey” is a standout that both recalls AFI coming into its own on 2000’s The Art Of Drowning and hints at a myriad of future directions. For the purists, “Dancing Through Sunday” and “Bleed Black” come strapped with generous chant-along opportunities and heavy-as-hell, bolt-tight riffs and rhythms. And as with virtually every track on Sing The Sorrow, these are all imbued with alternately brooding and celebratory lyrical imagery of rebirth, resurrection, apocalypse, all somehow deeply personal – in other words, classic AFI.
“When you’re playing a style of music that doesn’t really fit anywhere, you run a risk. You’re challenging people to leave their niche, to leave their predetermined ideas of what they’re supposed to like. Luckily, we have a lot of people who just focus on the music and appreciate us for what we are. So we get fans from all different genres of music, the jocks, the spooky kids, skaters, college kids, punk rockers, hardcore kids, metal kids, all that.” — Davey Havok"

Formed in leafy Surrey in the late 1980s, Threshold rose to prominence in the decade that followed, quickly establishing themselves as Britain's leading pioneers of progressive metal. Since debuting "Wounded Land" in 1993, the proven core creative duo of guitarist Karl Groom and keyboard maestro Richard West have developed a unique form of fierce progressive music that features precise melodies, thought-provoking lyrics and complex yet thunderous arrangements united. Threshold have tirelessly evolved over three decades of creative passion and may have reached a new peak in their performance with 2017's conceptual and musical feast, Legends Of The Shires. With the return of vocalist Glynn Morgan to the band, the Brits' permanent line-up of Groom, West, drummer Johanne James and bassist Steve Anderson have reached new heights and received critical acclaim in the process. The band's latest (and twelfth) studio album, Dividing Lines, was darker, heavier and even more adventurous than its predecessor, producing some of the most creative and melodically powerful material they have ever recorded. With these reissues of the remixed and remastered albums “Clone” and “Extinct Intinct” come the next two new vinyl formats and CDs with bonus tracks.

Long-running NYC hard rockers Mirror Queen offer a heady mix of psych, prog and NWOBHMisms with
the release of their fifth full-length, Dying Days. Influences such as Blue Öyster Cult, UFO, Camel,
Wishbone Ash and Iron Maiden soar amidst their singular mix of insistent guitars and melodic vocals.
The intent is to blast the audience by including songs with volume and adding hooks to the timeless riffs.

CACOPHONY was formed in 1986 by guitarists Marty Friedman and Jason Becker and
signed to Shrapnel Records. They released two studio albums 'Speed Metal Symphony'
(1987) and 'Go Off!' (1988) and remained active until 1989.
CACOPHONY both albums showcase unique performances of highly technical playing,
typical of the 1980s shred era, with songs featuring fast tempos, melodic solos, exotic
neoclassical scales and dual guitar harmonizations. Several tracks were entirely
instrumental, which prominently demonstrated Marty Friedman and Jason Becker's
renowned technical skills.
'Go Off !' is their second and final studio album . Both Marty Friedman and Jason Becker
released their own solo albums : 'Dragon's Kiss' and 'Perpetual Burn', respectively in 1988,
before the release of 'Go Off!’. Marty Friedman later joined the thrash metal band
Megadeth in 1990, remaining with them for nine years as well as releasing several more
solo albums, while Jason Becker enjoyed a short stint in David Lee Roth's solo band from
1989 to 1991.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.

Die britische Soft-Noise-Rock-Band Schande veröffentlicht ihr Debütalbum ,Once Around" über The Daydream Library Series, das Hauslabel der Ecstatic Peace Library von Thurston & Eva Moore.In den vergangenen Monaten hat die Band, die von Jen Chochinov, einem Mitglied des Thurston Moore Guitar Ensembles, angeführt wird, drei Singles veröffentlicht, die den melodisch-kantigen Ansatz der Band beim Songwriting zeigen - brennend und ruhig gleichermaßen, erinnerungswürdig und doch unverwechselbar. Tipp!

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

“Big City Blues” is the title of the new – fifth – album by the Antwerp band Handkerchief , which will be released on September 27. As the title suggests, the big city now plays a more central role in the band's world. This results in a harder rocking sound, more guitars, but
still the bluesy feeling with a steamy horn section and the rough voice of Christof Annaert, which also sounds like he has single-handedly cleared every dark alley in the big city of every possible scum.

Their latest albums “Mutiny Ballads & Fishguarding Songs” and “Ghosts of this Town” were particularly well received by the press and fans. Singles such as “They Drive by Night”, “Human Sense” and “Lucky Day” were regularly heard on national radio: including Willy,
Radio 1… and the band played dozens of shows in Belgium and the Netherlands. This fall the band will go on tour to present the new album.

Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings and mastered by Will Yip, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

"Im Schwarzwald" ("Hamburg Spinners in the Black Forest") is the third album by the mod-jazz quartet Hamburg Spinners. The Hamburg Spinners are Carsten Meyer on organ, Dennis Rux on guitar, David Nesselhauf on bass and Lucas Kochbeck on drums.

"Im Schwarzwald" was recorded live in January 2024 at the legendary MPS studios in Villingen-Schwenningen to capture the band's sound 1:1, with only a few shouts and handclaps added afterwards. The songs offer the tried and tested swinging mix of soul, R&B and mod jazz. Meyer's soulful organ sound, reminiscent of Booker T. Jones, Ingfried Hoffmann and Georgie Fame, is carried by Rux's warm and gripping guitar sound, Nesselhauf's dynamic bass playing and Kochbeck's precise and tight drumming.

Biographical information:

Carsten Meyer. Keyboardist and composer. Wrote the music for the TV series "Der Tatortreiniger" and makes people dance as "Erobique".

Dennis Rux. Producer and guitarist. Funk, soul & 60s garage on the mixing console and guitar. Recently on the road with Tetrao Urogallus, Trashmonkeys, Rhonda and Thee Pounders.

David Nesselhauf. Musician. Solo with "Afrokraut", bassist with Diazpora and various other projects in Hamburg.

Lucas Kochbeck. Writes music for films and is active as a drummer live and in the studio. Current projects include Diazpora, The KBCS, Flo Mega, The Kiez, Bacao Rhythm and Steelband, The Winston Brothers.

Mit mehreren erfolgreichen Singles in den deutschen Radiocharts, einer fast ausverkauften Debüttour und Auftritten im deutschen Fernsehen vor einem Millionenpublikum hat sich der sympathische Finne als Solokünstler etabliert. Musikalisch hat Fliku Rajamaa ebenfalls Quantensprünge gemacht und bewiesen. dass er welt mehr als nur der ehemalige Lead-Gitarrist von Sunrise Avenue ist. Im September 2024 erscheint nun seine EP »Blood Sweat Tears« als 12" Vinyl. Dieser ist zudem auch ein exklusives Gitarren Plektrum beigelegt.

Mit der gleichnamigen Single lässt Riku die Musikwelt wieder einmal an seinem Ausnahmetalent teilhaben, einen Ohrwurm nach dem nächsten kreieren zu können, den man direkt mitsingen möchte. Die weiteren Singles auf der EP spiegeln seine Vielseitigkeit wider: mal melancholisch und tiefgründig. mal positiv und charmant. Seine Musik ist ehrlich und emotional. Man darf also gespannt bleiben, was der sympathische, finnische »Guitar Nerd« noch alles für uns bereithält und was er noch erreichen wird. wenn er sich nach so kurzer Zeit schon erfolgreich einen Namen als Solokünstler gemacht hat.

Kraftwerk 2 is the second studio album by German electronic band Kraftwerk, entirely written and performed by founding Kraftwerk members Ralf Hütter and Florian Schneider in late 1971 and released in January 1972. Perhaps the least characteristic album of their output, it features no synthesizers, the instrumentation being largely electric guitar, bass guitar, flute and violin. On the second side, the more rock-oriented origins of the group still cling on, mostly without any percussion whatsoever

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
.
Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

Repress!

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.