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Ministry - Moral Hygiene

Ministry

Moral Hygiene

12inch0727361546410
Nuclear Blast
01.08.2021

After enduring a year like 2020, no one could have possibly expected Al Jourgensen to stay silent on the maelstrom of the past 12 months. As the mastermind behind pioneering industrial outfit Ministry, Jourgensen has spent the last four decades using music as a megaphone to rally listeners to the fight for equal rights, restoring American liberties, exposing exploitation and putting crooked politicians in their rightful place—set to a background of aggressive riffs, searing vocals and manipulated sounds to drive it home.
As Jourgensen watched the chaos that befell the world during the height of a global pandemic and the tensions rising from one of the most important elections in American history, he seized on the opportunity to write, spending quarantine holed up in his self-built home studio—Scheisse Dog Studio— along with engineer Michael Rozon and girlfriend Liz Walton to create Ministry’s latest masterpiece, Moral Hygiene (out October 1 on Nuclear Blast Records). Anchored by last year’s leadoff track “Alert Level”—which asks listeners to internalize the question “How concerned are you?”—the 10 songs on this upcoming 15th studio album cover the breadth of the current dilemmas facing humanity, while ruminating on the sizable impact of COVID-19, the inevitable effects of climate change, consequences of misinformed conspiracies and the stakes in the fight for racial equality. And most importantly doing so with the lens of what we as a society are going to do about it all.
Moral Hygiene comes on the heels of Ministry’s acclaimed 2018 album AmeriKKKant (hailed by Loudwire as Jourgensen’s own “state of the union” address) that was written as a reaction to Donald J. Trump being elected president—though Jourgensen says this new album is more informational and reflective in tone. “With AmeriKKKant I was in shock that Trump won. I didn’t know what to do, but I knew I had to do something. Because I believe if you are a musician or an artist you should be expressing what’s going on around you through your art. It’s going to happen whether you do it consciously or unconsciously. Moral Hygiene however has progressed even further into a cautionary tale of what will happen if we don’t act. There’s less rage, but there’s more reflection and I bring in some guests to help cement that narrative.”
In addition to recruiting long-time cohort Jello Biafra (Jourgensen’s partner in the side project Lard) for the quirky earworm “Sabotage Is Sex,” other guest appearances include guitarist Billy Morrison (Billy Idol/Royal Machines) on a rendition of The Stooges hit “Search & Destroy.”
Another standout track is “Believe Me,” featuring a throwback vocal style from Jourgensen that harkens back to his singing on Twitch and cult classic “(Every Day Is) Halloween.” The song came out of a jam session with Morrison, Cesar Soto and sampling from Liz Walton, and reminded Jourgensen of his formative days at Chicago Trax Studios where communal ideas were constantly informing early Ministry records. “’Believe Me’ had such an old school vibe I wanted to bring back old school vocals. …It’s funny how things come back to you,” says Jourgensen, also reflecting on Ministry turning 40 in 2021.

With the release of Moral Hygiene, Jourgensen is more positive than before. “This may sound crazy but I’m more hopeful about 2021 than I have been in two decades at least,” he says. “Because I do see things changing; people are starting to see through all the bullshit and want to get back to actual decorum in society. We could just treat each other nicely and be treated nicely in return. I never thought Ministry would be in the position of preaching traditional values, but this is the rebellion now.”

vorbestellen01.08.2021

erscheint voraussichtlich am 01.08.2021

24,58
Nathaniel Rateliff - Live At Red Rocks 2020

"Red Rocks 2020 covers an amazing range of music from Rateliff’s celebrated career, music that had never been performed together live before the ill-fated tour including several jewels from And It’s Still Alright, and Rateliff solo albums, In Memory of Loss, Falling Faster Than You Can Run and the Shroud EP, along with “Still Out There Running,” a haunting and urgent track from 2018’s much loved Night Sweats LP, Tearing at the Seams.
The stellar cast of musicians includes Rateliff (guitar) with fellow Night Sweats Joseph Pope III (bass), Mark Shusterman (keys), Patrick Meese (drums, keys, guitar) and Luke Mossman (guitar), along with James Barone (drums, guitar), Joy Adams (cello), Rachel Sliker (viola), Adrienne Short (violin), and Chris Jusell (violin).
In addition, close friend Kevin Morby joins Rateliff and the band here for an amazing version of Leonard Cohen’s “There Is A War”."

vorbestellen30.07.2021

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32,56
Gong Gong Gong 工工工 - Phantom Rhythm幽靈節奏 Remixed

 On ‘Phantom Rhythm’, Gong Gong Gong’s raucous debut, the
minimalist Beijing duo created a drummer-less sound that was
more than the sum of its parts, inspired by back-porch blues,
Sahelian guitar music, New York no-wave, Cantonese lion
dance percussion and, seemingly most incongruously, techno.
 With ‘Phantom Rhythm Remixed’, Gong Gong Gong bring to life
a concept they’ve planned since the release of their acclaimed
first album, curating their favourite China-connected electronic
music producers to remix ‘Phantom Rhythm’ in its entirety.
 The globe-spanning collaboration features Yu Su (Vancouver /
Kaifeng), Zaliva-D, Simon Frank, Howie Lee (Beijing), Mong
Tong, Scattered Purgatory (Taipei), Knopha (Xiamen), Wu
Zhuoling (Chengdu), Angel Wei (Copenhagen) and P.E.
(Brooklyn).
 The album traces a common thread, organically expanding the
palette of Gong Gong Gong into ambient club tracks, thumping
dance music, cinematic soundscapes and doomy, bit-crushed
psych.
 Gong Gong Gong are the duo of Tom Ng and Joshua Frank.
Formed in 2015 in Beijing, China, they make music from the
sparest of means: one guitar and one bass, interweaving riffs to
create forward-charging, drumerless grooves. Their inspirations
extend from Bo Diddley to African and Southeast Asian folk
music, psychedelic drone and the structures of electronic music.
 “A couple of misfits and a brash bouquet of sound” - Pitchfork
 “Spare and savage” - The New Yorker
 “String-focused, hypnotic, spitfire tracks” - Stereogum
 “A rare kind of intimacy you don’t often find with driving,
ramshackle funk” - Loud And Quiet
 “Depending on your ear, the Beijing-based guitar-and-bass duo
could sound like The Feelies’ stuttering post-punk, Bo Diddley’s
rock and roll boogie or Tinariwen’s droning desert blues” - NPR

vorbestellen30.07.2021

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20,13
The Great Leap Forward - Revolt Against An Age of Plenty 2x12"

Double vinyl on blue and orange transparent vinyl in gatefold sleeve with download code.

 Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’. 

Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1). 

Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

vorbestellen30.07.2021

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16,77
Golden Earring - To The Hilt

Golden Earring

To The Hilt

12inchMOVLP177C
Music On Vinyl
30.07.2021

Golden Earring were active for 50 years from 1961 until 2021. Their final line-up still included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone), a member since 1968, and Cesar Zuiderwijk (drums), a member since 1970. They have had over 40 hits and 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single “Radar Love” and their 1982 single “Twilight Zone”.

To The Hilt was released in 1976 and is considered to be one of their most complex albums. More than half of the songs are over 7 minutes long and musically the songs are very diverse. It is the last record that features Robert Jan Stips on keyboards. This reissue will come with a gatefold sleeve.

The album is available as a limited edition of 1500 individually numbered copies on silver coloured vinyl, and includes an insert.

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31,05
Laurin Huber - Dog Mountain

»Dog Mountain« is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. After last year’s »Juncture« saw the Edipo Re co-founder work mostly with synthesizers and programmed rhythms, the four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10 as well as field recordings that relate to the overarching topic that informed the making of the record. While »Juncture« had previously aimed at deconstructing the binaries and dualities that shape our lives and thinking, »Dog Mountain« is dedicated to geographical divisions that result from political processes and social constructions. »›Here‹ means one nation, ›there‹ another,« writes Huber in a literary piece that accompanies the record. »Being in sound, such a separation seems odd.«

While treating the metaphor of the border as a »membrane, registering and translating the vibrations of its surroundings« and thus as something that is constantly (re-)defined, maintained and defended however, the artist also takes into consideration that »one cannot escape one’s standpoint,« as he puts it. The music on »Dog Mountain« may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, »Dog Mountain« puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change.

Opener »Raja« (»border« in Northern Sami and Finnish) starts off with a two-note melody played on an out-of-tune guitar. Different field recordings and synthesizer sounds drop in and out of the mix until the dynamic shifts and Huber starts playing more notes on his instrument, thus increasing the tension. It’s a meditation on minimalism, but also a piece that mediates between notions of what constitutes the difference between noise and music or referentiality and abstraction in sound. After »Nickel« (named after a Russian monotown near the border to Norway) dedicates itself to explore the friction between hissing white noise and melancholic tape loops, »A Town Is Not a Town« (a phrase taken from the documentary »Kiruna – Rymdvägen«) structurally mirrors the experiment of »Raja« with very different sonic means.

Closing the record, »Storskog-Borisoglebsk« (the title refers to the northernmost land border between Schengen-Europe and Russia) is the longest and most challenging piece, working with both long-form drones and musique concrète elements. It proposes a synthesis of the opposites that are explored patiently and with much attention to detail throughout this record.

vorbestellen30.07.2021

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24,16
The Necks - Mindset

The Necks

Mindset

12inchRERVN10LP
ReR Vinyl
30.07.2021

Long awaited re-issue of The Necks 2011 masterpiece. Always different, here the Necks resolutely layer polyrhythmic material to form seething blocks of sound - in two long pieces, one more stripped back to the live trio, the other featuring multiple strata of swirling Hammonds, noise-guitar and electronics. Their 16th release still resonates on its own.

vorbestellen30.07.2021

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21,81
Gordon Koang - Coronavirus / Disco

Music in Exile is excited to announce a new 12” maxi-single release from the “King of Music”, GORDON KOANG. Titled Coronavirus / Disco, this double-A-side release share’s Gordon’s messages of peace, love and positivity, and is his first original offering since his acclaimed Unity album was released in late 2020.

The first single, Coronavirus, was penned by Koang in July 2020 as a response to his personal experiences of the global pandemic. As his hometown of Melbourne went into lockdown, Gordon resided in the outer suburbs of Melbourne with his cousin, Paul, and his four-stringed, guitar-like instrument, the thom. Throughout this single, Gordon offers his condolences to those affected by the pandemic, alongside messages of his faith in frontline workers and the hope that circumstances will improve soon. “People suffer a lot. I ask that God gives the doctors the big wisdom to defeat the coronavirus. When people hear my song, I hope that this music counsels them. The song has a lot of meaning, it is telling them to be hopeful.”

With the cancellation of a national tour and numerous festival appearances, Covid-19 had not only impacted Gordon’s career here in Australia but also his opportunity to visit family he hadn’t seen in five years. After receiving Australian permanent residency, Gordon and Paul were now able to visit family in Uganda, however this was made incredibly difficult due to border closures and the potential health risks. Taking a last minute opportunity, Gordon and Paul travelled to Africa and whilst excited to visit their families, they also experienced the impact of the pandemic on their home communities. “In Africa, it is not like us here, there is no medicine and in Africa there is also no Centrelink if you are in lockdown. It is difficult getting services. Even getting food is difficult.”

After two weeks in hotel quarantine, Gordon and Paul returned to Melbourne, eager to record music once more. With lockdown lifting, Gordon headed to the studio with a new band featuring Zak Olsen (ORB, Traffik Island) Jack Kong (Baked Beans, Traffik Island), David “Daff” Gravolin (ORB), and Jesse Williams (Leah Senior, Girlatones). This new release is the result of these studio sessions, jamming and recording at Button Pusher in Preston, Melbourne.

For the DJ’s out there, both tracks will feature on a limited edition, 12” maxi single vinyl complete with pull-out poster from Gordon, encouraging listeners to stay positive during this difficult time.

“My condolences to you, my audience in lockdown. We are all suffering from coronavirus. Let us stand firm and be strong. Let us look after each other, until the time comes when God brings us together. I give my condolences to people who have died of coronavirus, in aged care and disability. We are heartbroken for everyone. Let us take it easy, and pray in our houses, all around the world. If you believe in God, pray to the God you believe in, and they will help you. God will give us the chance to go back to normal and open all events. Even if it is a bad time now, there will be a change and it will be a good time for us. Thank you to everyone.” - Gordon Koang

vorbestellen30.07.2021

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12,56
Marillion - Script For A Jester’s Tear (2020 Stereo Remix)

Marillion released its studio album debut, Script for a Jester’s Tear, in March 1983. The record was certified platinum in the band’s native U.K. where it reached number seven on the Albums Chart and spawned two Top 40 singles: He Knows You Know (#35) and Garden Party (#16).

Originally produced by Nick Tauber, Script for a Jester’s Tear is the only Marillion album to feature Fish (vocals), Steve Rothery (guitar), Pete Trewavas (bass), Mark Kelly (keyboards) and Mick Pointer (drums). Script For A Jester’s Tear (2020 Stereo Remix) opens with a newly remixed stereo version of Script for a Jester’s Tear by Andy Bradfield and Avril Mackintosh and features the singles Garden Party and He Knows You Know.

vorbestellen30.07.2021

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22,65
Johnny Winter - Captured Live!

John Dawson Winter III, better known as Johnny Winter, was an American singer and guitarist. He was best known for his energetic blues rock albums, combined with equally energetic live performances throughout the late 1960s and 1970s. As such, it’s no surprise that he released many live albums. Captured Live! is his second live album, released in 1976 to positive reviews. It features mainly cover songs, including songs by John Lennon, Bobby Womack, Bob Dylan and more. This allows for the focus to shift towards Winter’s impeccable guitar playing skills, backed up by his band.

This LP edition contains an insert with photos and credits.

vorbestellen30.07.2021

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28,87
JOHN FRANCIS FLYNN - I WOULD NOT LIVE ALWAYS

Singer, guitarist, flautist (and practitioner of the double tin whistle), John is
also a member of celebrated traditional group Skipper’s Alley and is joined
here by bandmate Ultan O’Brien (also of Slow Moving Clouds).
Also contributing to the record are singer Consuelo Breschi of the duo Varo,
sean n s singer Saileog N Ceannabh in, Phil Christie (O Emperor / The Bonk) on
keyboards, and drummer & composer Ross Chaney who created many of the
Tascam tape-loop drones that bind the album together.
The record was produced, engineered and mixed by Brendan Jenkinson (Villagers / Cloud Castle Lake) who also joins in on a host of instruments for the record. It was recorded and mixed at Oxford Lane and Sonic Studios, Dublin. The
material John Francis Flynn has chosen to record includes songs learned from
recordings of Shirley Collins, Frank Harte and settled Traveller Paddy Quilligan,
two songs written by activist and folk revivalist Ewan MacColl, and a West Indies halyard shanty published by “Last Working Shantyman” Stan Hugill, alongside in-studio improvisations and tunes picked up by John along the way

vorbestellen30.07.2021

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27,35
Various - THE ROUGH GUIDE TO AVANT-GARDE JAPAN

From boundary-pushing koto musicians to experimental jazz virtuosi,
Japanese music has long embraced all things avant-garde.
This Rough Guide highlights some of today’s key innovators whose individualism challenges the conformist perception of Japan.
A unique insight into the richness and diversity of the vibrant underground Japanese scene, which draws on myriad influences from free jazz and electronica to Zen budhism. Pioneering artists who push the boundaries of Japanese music, whilst at the same time paying respect to their musical heritage. Featuring tracks by free-spirited Koto players Michiyo Yagi, Karin, as well as koto/guitar duo tsuMGuito.
Compiled by the renowned radio presenter, journalist, and Japanese music expert Paul Fisher.

vorbestellen30.07.2021

erscheint voraussichtlich am 30.07.2021

15,08
HUGH SMALL & BRIAN ALLEN SIMON - THE SIDE I NEVER SEE

MAT is proud to announce the forthcoming release of ‘The Side I Never See’, by Hugh Small & Brian Allen Simon. Hugh forms half of Scottish post-punk duo Vazz, whose work was the subject of a recent retrospective by Belgian label Stroom. Brian is known best for his solo project Anenon, under which name he has released four full length albums and multiple remixes for artists including Ryuichi Sakamoto.

An improvised recording of Brian playing over the Vazz piece ‘Kazimierz’ catalysed this long-distance collaboration; 2000 feet up a mountain in Andalucia, Hugh heard the recording on a broadcast of Brian’s dublab LA radio show. Immediately taken in by Brian’s playing, the pair soon established contact and began discussing the possibility of working to create something new together.

The rest, as they say, is history: the results are fully realised in ‘The Side I Never See’, a shimmering suite of ten compositions for piano, soprano saxophone, synthesizer and guitar. In Hughs words… ‘so, what is it? It’s Ambient-Punk, Abstract-Jazz, Disaffected-Classical, it’s whatever the fuck you want it to be!’ :-)

‘The Side I Never See’ will be released on Melody As Truth in early August 2021, as always on vinyl and digital. Mastered by Stephan Mathieu, Artwork by Michael Willis.

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18,03

Last In: vor 4 Jahren
Noura Mint Seymali - Arbina

Available on CD and 180gram heavyweight gatefold LP.
Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family's legacy to new heights as arguably Mauritania's most widely exported musical act of all time.
Arbina is Noura Mint Seymali's second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief, soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself, music of the "Azawan."

Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali's tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit's (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut.
Many of the songs on Arbina call out to the divine, asking for grace and protection. "Arbina" is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout.

Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told.

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20,97

Last In: vor 4 Jahren
LEMOS & DEBÉTIO - MORRO DO BARRACO SEM ÁGUA

A first-time replica re-issue of a highly sought-after, rare Brazilian MPB / Funk nugget from 1974.

Brazilian 7" singles or compacts sometimes get a bit overlooked outside of the world of avid Brazilian collectors and DJs, but here are where some of the most exquisite jewels of Brazil's rich musical tapestry lie.

This release has been a long time in the works, but now finally we are thrilled to present a replica version of one of our favourite Brazilian 7”s - the outstanding 'Morro Do Barraco Sem Água' by Lemos E Debétio (aka Toninho Lemos & Paulo Debétio). Discovering tracks like 'Morro Do Barraco Sem Água' makes you want to go the extra mile. You spend that little bit more time than is rational examining and dusting off a stack of 7”s hunting for an elusive gem, or end up disappearing down an Internet wormhole eating into time you don’t have before you need to be up for work again in the morning. This is a calculated effort, as the reward of the revitalising musical vitamins that you've stumbled upon are the big pay off.

'Morro Do Barraco Sem Água’ was originally released on Odeon Records in 1974, and even though this was a major record label it remains extremely hard to find. From the first moment the needle hits the groove with its guitar and drum break intro you know the song is special. A feel-good addictive melody with fantastic swooping arrangements and a pulsating funk backbeat, which is over all too soon. We hope you enjoy this audio treasure as much as we do!!!

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18,11

Last In: vor 4 Jahren
Charlie Charlie - Litte Things

The International Feel label is back from an extended meditation. Well-rested and with a cornucopia of new ideas and records, IFeel is happy to announce the debut album from Charlie Charlie as the starting shot. „Little Things“ is the brainchild of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords. Born on a beach in Southern California instead of their hometown Stockholm, it is exactly what you would hope for such a record to be: pop music that is informed by hippie or counter culture and by a Balearic ethos (hence the International Feel address) that is free of blinkered definitions. In equal parts, the duo’s ten songs take the listener through honey dripping r&b, while respelling that certain Californian recording studio sound aesthetic, revisit vintage yacht rock and pop tropes as well as they are reflecting dance music influences in a broken, yet gold framed mirror. Most of all, it’s like a day dream that you don’t want to end. To quote our Italian friends from Edizioni Mondo: good listening experience!

Band info:
Charlie is Gabriella Borbély – also known as Stockholm's deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together.
That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70's analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.
Charlie & Charlie have since continued making music together, describing their common process as liberating, free-flowing, genre-less. "Little Things", their debut album, is made up of tracks recorded in Los Angeles and Stockholm, using that very same ARP as well as pianos, electric guitars and machines like the Prophet 6, the Juno-106 and the Syncussion SY-1. Vocal contributions come from the Charlies themselves as well as friends like Mapei and Julimar Santos.

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17,10

Last In: vor 4 Jahren
Hello Cuca - Gran Sur

Hello Cuca

Gran Sur

12inchLC74
La Castanya
26.07.2021

La Castanya is releasing “Gran Sur” on vinyl for the first time, originally released on CD in 2004. Very Limited/Non-Returnable.

Hello Cuca, inspired by the DIY philosophy and the Riot Grrrl movement, toured the United States with The Make Up (Dischord / K Records) and Spain with Bratmobile (Lookout! Records / Kill Rock Stars).

Hello Cuca released on vinyl a handful of EPs between the late nineties and the two thousands and then an album released on CD, Gran Sur, an out of print release right up until now that La Castanya is going to release it on vinyl for the first time.

In Gran Sur Lidia Damunt (the same Lidia Damunt who has now gone solo) was joint by her sister Mabel Damunt on the bass and Alfonso Melero (the same Alfonso Melero from Villarrobledo’s much-missed indie aristocracy) on drums. She sang Mabel’s lyrics about a place in-between the Spanish Levante Coast and the West Coast of the United States. A place for Mabel’s dream-theories about love and sisterhood and how we learn how to be people when we talk to each other, when a name is given to us, when we do things and let the others see we have done them.

There they were, and there they are still. Lidia shouting that madness of lyrics and
playing the guitar and Mabel and Alfonso doing their badaboom-badaboom from behind.
It was incredible to watch, it is irresistible, they are the best without question. I think a lot
about Hello Cuca. — Manolo Martínez, Astrud

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18,45

Last In: vor 4 Jahren
Gianni Dell'Orso & Gianni Oddi - Mondo di notte oggi

Welcome to a new exciting chapter in the Four Flies 45s series, which brings to DJs, producers and music lovers all over the world a collection of super-groovy themes from the finest Italian soundtracks, issued on 7-inch vinyl for the very first time. This release presents the two funkiest tunes from the soundtrack to Gianni Proia's Mondo di Notte Oggi, a 1976 Mondo movie whose score was composed, arranged and produced by Gianni Oddi and Gianni Dell'Orso. While Oddi had several successful albums under his belt, either as writer or arranger, Gianni Dell'Orso, one of the most versatile producers of his time and the brother of multi-talented maestro Giacomo Dell'Orso (the husband of Morricone's favourite singer, Edda), had worked in a wide variety of genres, from prog rock to library music.

Side A contains the afro-funk classic "Soul Meeting", a vibrant, infectious and psychedelic piece driven by percussion and flute. Side B features the equally irresistible "Teenager", an afro-influenced funk track with a soulful brass section and wah wah guitar, used in the soundtrack as a sort of background music but, in fact, released a couple of years before as part of Oddi's album "Oddi 4".

A must-have for any DJ and collector, this exclusive 7-inch comes in a limited edition of 350 copies. Don't wait and grab yours before it's too late!

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17,61

Last In: vor 4 Jahren
ORCHESTRA OF CONSTANT DISTRESS - Concerns

The fourth full length album of Orchestra of Constants Distress Concerns marks the end of a quadruple suite of intense, dissonant, reluctant improvisation.

Looking back on five years of musical summits, which also has resulted in a couple of cassette releases and a live LP from Roadburn festival, one might wonder if these musicians have come to some form of insight.

Riffs seems to have deepened into complete compulsiveness as the rhythm from drummer Anders Bryngelsson (Brainbombs, No Balls) deliver both frustration and caution at the same time. Between the dissonant sounds of Henrik Rylander (Union Carbide Productions, Skull Defekts) and the choleric play style by guitarist Joachim Nordwall (Idealist, Skull Defekts) a way of emotional vacuity is spreading. With the phlegmatic and elemental bass of Henrik Andersson (visual artist) the music of OOCD is a montage of sound-scapes rather than the uniform of compositions.

Rather than seeking a musical presence through improvisation they seem to perform absence and void.

ORCHESTRA OF CONSTANT DISTRESS Are
Joachim Nordwall (The Skull Defekts, iDEAL Recordings) Anders Bryngelsson (Brainbombs, No Balls)
Henrik Rylander (The Skull Defekts, Union Carbide Productions) Henrik Andersson

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16,77

Last In: vor 4 Jahren
Paul Weller - Cosmic Fringes (Remixes)

Pop royalty the Pet Shop Boys have done an epic 12 minute HI-NRG remix of Paul Weller’s recent album track “Cosmic Fringes”.
The Pet Shop Boy Triad Remix is a thumping fuzzing disco banger featuring the dulcet tones of Neil Tennant as well as Paul’s original vocals.
And if that’s not enough, there’s another remix by Primal Scream’s guitarist-in-chief Andrew Innes. Giving Paul’s vocals a distorted sound, this sensory assault is layered with thumping chimes and a searing 4/4 doof for the dancefloor.

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12,98

Last In: vor 4 Jahren
COLA BOYY - PROSTHETIC BOOMBOX

There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox
achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

Look no closer than Prosthetic Boombox’s euphoric opener, the Avalanches-assisted ‘Don’t Forget Your Neighbourhood.’ The track – which Urango says mixes “the Beach Boys, French disco, house keys and ragtime piano, kinda like the Cheers soundtrack!” – ends with lyrics urging listeners to “fight for your town with your fist closed, strike it and make it more than just a memory.” It’s a reminder that the working classes need to “turn our fists against our oppressors instead of each other,” he explains. After that emphatic introduction comes a horn-laced funk wig-out titled ‘Mailbox’ – a song that gives Dua Lipa’s Future Nostalgia a run for its Studio 54-themed money, featuring rising Londoner JGrrey. Elsewhere, ‘Song for the Mister’ ventures into smooth R&B territory, before ‘Roses’ – a collaboration with Myd of Ed Banger fame – offers a bouquet of bustling disco guitars and infinite bisous of Connan Mockasin’s band drops in on the immaculate ‘Go the Mile’. Urango saves his most introspective moment for the album’s starry closer. ‘Kid Born in Space’, a cosmic collaboration with MGMT frontman Andrew VanWyngarden, sees the artist reflect on what he once had to overcome as a disabled person of colour. “I see them looking down on my dreams of being,” he sings tenderly. “I hear them making fun of my voice, but I keep on moving forward, I refuse to live in anyone else’s shadow.” Prosthetic Boombox, on this subject, is more than an album title – it’s a statement of intent.

“The message of my music is that our class is exploited, oppressed and murdered on the daily. That’s not right, and the system that enables that deserves to be wiped off the face of the earth,” he says. “The only way that happens is if we’re united. That’s the point of my music – to relate to people and unite them.” And what unites more than raucous, irresistibly danceable pop? Prosthetic Boombox is a riot of joyous grooves and catchy hooks for good reason. “I want to reach and spread my message to as many people as possible. You can’t do that if you’re some obscure motherfucker, you know?” he laughs. Don’t bet on him being an “obscure motherfucker” for long.

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19,96

Last In: vor 4 Jahren
Indigo - Part 1

Indigo

Part 1

12inchMUCO006
Music Company
23.07.2021

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

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22,06
The Imbeciles - Dissolution Sessions

Dissolution Sessions' is the first release by art punk rockers The Imbeciles since their well received eponymously named debut album earlier this year. The six-track EP
features a new band line up - and a different sound. 'We've slimmed down from a meandering, vegan, six member prog rock combo, to a tight-knit, guitar-led, steakeating 4-piece,' says lead Imbecile, Butch Dante. 'The guitar sound is fuzzy punk beast-master AF, and we like it.'
The band had originally gone into the studio earlier this year to record a radio session for 6Music. That ended up being cancelled because of the pandemic crisis. 'We
were there anyway so we started riffing on some new songs and everything came together real fast,' continues Butch. The result is three new songs and three new
versions of tracks that first appeared on the album. 'The music is still weird; but everything just gets to the point faster,' he adds. "You can hear that energy in 'Yes I
Am'; it's the sound of a band having fun being creative again after a difficult year.'
That particular new track is a Foo fighters/STP/Stooges-style banger, but played on Imbeciles terms - one note leads and guitar scrapes, with off beat stabs and a pop
punk drum track that pulls the whole together. And the overall vibe of the EP is a NSFW hybrid of 1979 London punk (Skids and Ruts), with second guitar stolen from
eighties Echo and Bunnymen and a leavening of Bauhaus art rock.
'Sunday Leaguer' was inspired by Butch's love of English football. The song is both a banging punk celebration of the beautiful game, and a lament to the gaping hole left
in peoples' lives when Coronavirus forced the cancellation of all football in March. As well as the Premier League, MotD and other football staples, the song also
celebrates the unsung legends of amateur Sunday League football. Dante, a Crystal Palace fan, enlists Palace's Holmesdale Fanatics on the track, who are heard chanting
'Eagles', while the video for the song pays tribute to the club's mascot, Keya, who sadly passed away this summer.
Charlie Conkers makes his debut on the EP as the band's drummer. 'He's young, good looking, and talented. It's quite annoying, actually,' Butch says. New lead guitarist
Stan Moseley makes a sideways move into the band from his previous role as The Imbecile's chief engineer and co-producer - the producer role now being occupied by
music legend, Youth, with whom the band has just started working on a new album, to be released in 2021.
'Having Youth involved as producer and co-writer is the most dope thing that has ever happened to the band,' says lead singer and bass player Kip Larson. 'Everyone is in
a super positive, hyper creative place right now and we can't wait to see what we come up with.'
So what about the name, Dissolution Sessions? Was it a nod to the pandemic, or a reference to the band breaking up and reforming again with its new members?
Neither, according to Butch. 'Kip was super hung over at the session. too many Dos Equis, yo. Hence: Dissolution Sessions.'

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12,56
WILLIAM PARKER - MAYAN SPACE STATION

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Mayan Space Station’ is his first electric guitar trio album, and features Parker
on bass, alongside Ava Mendoza (electric guitar), and Gerald Cleaver (drums).
Cosmic multi-hued blues, perfect for space and time travel. The unparalleled
rhythmic firmament created by Parker & Cleaver is matched by Mendoza in full
flight. All of the promise imagined by a trio recording of these musicians with
compositions by Parker is delivered to the fullest.
Mendoza’s prodigious talents have illuminated many projects and recordings
as both leader and collaborator over the past decade. As is certainly clear here,
she is committed to bringing expressivity, energy and a wide sonic range to the
music. Gerald Cleaver is an exceptionally gifted poet of drum sound who can
play in the deepest of pockets and manifest all manner of sound to perfectly fit
contours within the most open of forms.
Cleaver & Parker have worked closely on numerous projects, notably within the
nonpareil full-improvising trio, Farmers By Nature, together with Craig Taborn.
William Parker is in vibrant grandmaster blossom here on double bass - in both
pizzicato & bow-as-prism modes.
William Parker: bass, compositions,
Ava Mendoza: electric guitar,
Gerald Cleaver: drums

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29,20
Marta Gabriel - Metal queens

Marta Gabriel is known as the front woman of heavy metal power force CRYSTAL VIPER, who recently released a brand new studio album, „The Cult”. Except that she’s a seasoned session musician, and either was a a guest on albums, or appeared on stage with acts as VADER, MANILLA ROAD, JACK STARR’S BURNING STARR, MAJESTY and WITCH CROSS. Technically, ”Metal Queens” is her first solo album, although it’s a very unusual release. „Metal Queens” is a celebration and tribute to female singers and female fronted heavy metal acts of the ‘80s. The original Metal Queens !. LINE UP: Marta Gabriel - lead and backing vocals, bass guitar Eric Juris - lead, rhythm and acoustic guitars, choirs Cederick Forsberg – drums and percussion, choirs SPECIAL GUESTS: John Gallagher (RAVEN) – bass guitar on ”My Angel” Harry Conklin (JAG PANZER) – vocals ”on «Light In The Dark” Todd Michael Hall (RIOT V) – vocals on ”Call Of The Wild”

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26,85
UPPER WILDS - VENUS

Upper Wilds

VENUS

12inchTHRILLX5511
Thrill Jockey
23.07.2021

Multi-instrumentalist/vocalist Dan Friel is unrivaled in his capacity to inject blistering noise and energy into ferocious pop songs. A champion and mainstay of the NYC underground, Friel the has played alongside the likes of Lightning Bolt and Black Dice as well collaborated with acclaimed string quartet ETHEL. Upper Wilds channels Friel's unbreakably ebullient spirit into mountainous rock music dripping with molten fuzz. The trio's exploration of the interstellar expands in parallel to their increasing levels of bombast and precision. Venus synthesizes the experimentation of debut Guitar Module 2017 and the thunder of 2018's Mars into ten lean chunks of cosmic rock laden with scorching hooks. On Venus, Upper Wilds rocket lovestruck anthems centered around the planet named for the Roman goddess of love at full tilt from the moment "Love Song #1" makes liftoff. The album's incendiary opening trilogy crashes with a relentless vigor and addictive melodies. The rhythm section of bassist Jason Binnick (who also mixed the album) and drummer Jeff Ottenbacher tear through off-kilter riffs that pound with meteoric impact. Friel's guitar sputters and froths beneath his voice before soaring into frenetic leads that pack every moment with powerful melody. Alien croons and glitching spasms spill out of Friel's wild, filtered humming, amplified into oblivion. Venus' few moments of respite lay bare the raw efficiency and beauty of Friel's songwriting, like transmissions home to loved ones thousands of miles away slipping through the crackle and chaos of space. Venus traverses the havoc, mystery, and joy of humanity's countless follies in both space and love. Both cosmic and human, Venus is a deeply affecting celebration of the wonders of what is beyond comprehension internally and externally. Upper Wilds' Venus is an exhilarating odyssey of tremendous exuberance and a testament to human resilience in the face of the unknown.

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24,75
L’Objectif - Have It Your Way

L’objectif are schoolmates Saul Kane (vocals, guitar) and Louis Bullock (drums) – who first formed a band together at the age of 12 – Ezra Glennon (bass) and Dan Richardson (guitar).

With each member picking up instruments as children, the young friends – none of whom are over the age of 17 – have a shared love of genres and musicians that belies their tender age: jazz funk, hip-hop, punk, post-punk, and almost everything in between. Also inspired by painters Basquiat and Francis Bacon, L’objectif seek excitement in the intellectually stimulating and subjective; finding thrill in the confusion.

With Saul having spent lockdown cocooned away in Leeds writing and recording demo upon demo in his home studio, and the band as a whole constantly refining their sound, L’objectif are finally ready to spread their wings for the very first time with their incendiary debut single on Chess Club, ‘Drive In Mind’.

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15,08
Various - Buena Onda – Balearic Beats 2021

Hell Yeah's debut Buena Onda compilation proved hugely successful. It also kept people drenched in exotic dance floor sounds while the pandemic has kept everyone apart. Now the Berlin-based party is back and on a mission to redefine what Balearic means with a first-ever vinyl-only sampler featuring exclusive, unreleased tunes and remixes compiled by Marco Gallerani and Gallo from brothers around the world.

The a-side is all about new kids on the block: Australian cyborg disco don Kayroy appeared on the label in 2020 with his Imaginary Expeditions EP and now links with his friend Jaspar Robinson, a dreamer with his head amongst the stars. He provides the vocals which speak of an astronaut lost in space and aching for a missing loved one while sombre chords and downbeat bass make for a beautifully longing groove. It's a blue-eyed Balearic classic. The up-and-coming Italian Feel Fly of labels like Internasjonal then goes widescreen with his 'Esperanto.' The chords shimmer, the baseline percolates and the guitar riffs arc up to the heavens for some late-night intergalactic bliss.

The flip side features more mature and established artists: label regular Max Essa offers a remix of The Vendetta Suite 'Neon Secrets,' which has naive Eastern melodies and rueful 80s chords with a subtle new age feel that dumps you right on the beach at sundown. Last of all come Chris Coco and Micko Roche with true-school Balearic classic complete with cicada-like shakers, mellifluous Spanish guitar licks, flutes and soft, frothy, rolling beats that break like waves on a sun-kissed Mediterranean coastline.

Balearic Beats 2021 Sampler 1 offers something for every hour of the day, making this a perfectly functional 12" for the modern Balearic DJ.

Support by Prins Thomas, Calm, Chris Coco, Andy Wilson (Ibiza Sonica), Pete Gooding, Severino (Horse Meat disco), Will Nicol, Phil Cooper, Leo Mas, Mike Salta, Balearic For You, Jon Sa trinxa

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11,98

Last In: vor 4 Jahren
CAPSTAN - SEPARATE

Capstan

SEPARATE

12inchFEAR01806
FEARLESS RECORDS
23.07.2021

Emerging from an era of intense personal and collective change, Capstan
perfect their patented one-two punch of elite musicianship, battering ram
rhythms, off-kilter fret fireworks, and high-octane chantable choruses.
After amassing over 20 million-plus streams, the Florida five-piece Anthony DeMario vocals, Joe Mabry guitar, Harrison Bormann [guitar], Andrew “Bozz”
Bozymowski [bass, vocals], and Scott Fisher [drums] unleash a focused and furious firestorm of bop-level anthems on their second full-length offering, SEPARATE

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25,59
Karkhana - Al Azraqayn

Karkhana

Al Azraqayn

2x12inchKR086
Karlrecords
23.07.2021

The furious double LP "AL AZRAQAYN" documents KARKHANA (with members of KONSTRUKT, THE DWARFS OF EAST AGOUZA, LAND OF KUSH, PETER BRÖTZMANN CHICAGO TENTET, "A" TRIO) at their very best and intense: live on stage.

Consisting of seven of the most adventurous and innovative artists from the Middle Eastern experimental scene (and a veteran jazz percussionist from Chicago), KARKHANA are surely among the most unique and interesting ensembles around. When MAURICE LOUCA (THE DWARFS OF EAST AGOUZA), SAM SHALABI (LAND OF KUSH, THE DWARFS OF EAST AGOUZA), UMUT ÇAĞLAR (KONSTRUKT), MAZEN KERBAJ ("A" TRIO, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA), MICHAEL ZERANG (PETER BRÖTZMANN CHICAGO TENTET), SHARIF SEHNAOUI ("A" TRIO, ORCHESTRA OMAR) and TONY ELIEH (ORCHESTRA OMAR, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA ) come together to perform and / or record, the result is as diverse as their individual musical backgrounds. The septet's sound is neither retro nor avantgarde, not folklore nor jazz or rock – it's an astonishing blend of all these different styles and elements where seductive oriental melodies can intensify and turn into a psychedelic freak-out, fuelled by reeds, guitars and electronics, only to re-start again from quiet sounds till the ensemble seeks catharsis in a collective improv outburst! Defying simple categorization, and in lack of proper terms for the intense experience of KARKHANA's music (as well as the member's other projects mentioned before), someone labelled it "free Middle Eastern music".

And it's not surprising that these skilled musicians are at their best live on stage – as documented on this live recording from a furious, highly energetic concert at Bimhuis / Amsterdam!

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26,01
Interstate - Dominion Swing 2x12"

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

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19,12

Last In: vor 4 Jahren
TARAS BULBA - Sometimes The Night

Taras Bulba

Sometimes The Night

12inchREPOSELP105
Riot Season
23.07.2021

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

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18,70
CONOR OBERST - RUMINATIONS (EXPANDED EDITION)

‘Ruminations feels like a direct line into the spirit of Right Now. Oberst reckons with having the fabric of his life ripped apart by a disease of the flesh he couldn’t control or understand. Perhaps that sounds familiar? He paints a startling picture of how surreal life becomes when backlit by illness… these songs are heartrendingly beautiful, filled with the beauty of day-drunkenness and Proustian flights into memory and waking up in the afternoon and realizing that, however imperfect the day is, it’s a day.’
– GQ (2020)

Conor Oberst’s critically acclaimed 2016 solo album, Ruminations, will be released in a double-LP expanded edition – featuring five bonus tracks, four previously unreleased, as well as an etching on side D – on Record Store Day, June 12; it will be made available widely in all formats on July 23. The five bonus tracks were recorded during the Ruminations sessions; while full band versions of them were released on the 2017 companion album Salutations, these solo acoustic recordings are now included for the first time on Ruminations.

Ruminations was recorded in the winter of 2016, when Oberst found himself hibernating in his hometown of Omaha after living in New York City for more than a decade. He emerged with the unexpectedly raw, unadorned album, which NPR called one of his ‘most personal records… a collection of brave, dark songs… unmistakably moving and contain[ing] some of Oberst's best lyrics and imagery.’ The Sunday Times further said it was his ‘rawest album yet. Political and very, very personal’, calling Oberst ‘one of the best songwriters around’, and including the album in its list of best of the year.

“I wasn't expecting to write a record,” said Oberst in 2016. “I honestly wasn’t expecting to do much of anything. Winter in Omaha can have a paralyzing effect on a person but in this case it worked in my favour. I was just staying up late every night playing piano and watching the snow pile up outside the window. Next thing I knew I had burned through all the firewood in the garage and had more than enough songs for a record. I recorded them quick to get them down but then it just felt right to leave them alone.”

In the Nebraska studio he built with his Bright Eyes bandmate and longtime friend Mike Mogis, Oberst recorded all the songs in the span of forty-eight hours. The results are almost sketch-like in their sparseness, and they ultimately became the songs that comprise Ruminations. These tracks do not have the multi-layered instrumentation of the most recent Bright Eyes and solo albums: This is Oberst alone with his guitar, piano, and harmonica; the songs connect with some of the rough magic and anxious poetry that first brought him to the attention of the world.

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26,85
Heavy Water - Red Brick City

Silver Lining Music to release the first project by Saxon's Biff Byford and son Seb Byford of Naked Six. On July 23rd 2021, there’s going to be a new rock ‘n’ roll sheriff in town, and as their name suggests, Heavy Water aren’t for the light-hearted. Soaked in gritty, riff-baked blues, yet rich with the sound and metre of classic hard rock, Red Brick City’s ten songs refuses to let you go. From the taut, elastic swing of the ‘Solution’ riff to the rich, layered balladic strains of ‘Tree in the Wind’, Red Brick City moves with the class and cadence of a cracking journey uniting vintage rock ‘n’ roll sensibilities with the crackle and excitement of a fresh, youthful perspective.

With Seb on guitar and Biff on bass duties and both providing their vocal talents the foundations for Heavy Water’s sound are set in both that incredible father/son chemistry and a lifetime of know-how and experiences. Take the title track -and first single- ‘Red Brick City’, all steam and smoulder wrapped around a riff Soundgarden would’ve been proud of, and then there’s the sun-soaked smile of ‘Follow This Moment’ with harmonies evoking the Beach Boys relayed through Led Zeppelin, a gorgeous ‘70’s trip right down to the fade out. Produced by Seb Byford and Biff Byford, with Jacky Lehmann mastering, Red Brick City is a rich, lustrous ride through profoundly rewarding rock waters.

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28,53
Alasdair Roberts og Völvur - The Old Fabled River

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.

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26,85
Mudhoney - ‘Every Good Boy Deserves Fudge (30th Anniversary Deluxe Edition)’

The classic 1991 album remastered and expanded with rare and previously
unreleased tracks. Extensive liner notes by band biographer Keith Cameron.
A landmark of the grunge era.
By going back to basics with ‘Every Good Boy Deserves Fudge’, Mudhoney
flipped conventional wisdom. Not for the first time - or the last - they would be
vindicated. A month after release in July 1991, the album entered the UK
album chart at Number 34 (five weeks later, Nirvana’s ‘Nevermind’ entered
at 36) and went on to sell 75,000 copies worldwide. A more meaningful
measure of success, however, lay in its revitalisation of the band, casting a
touchstone for the future. The record is a major chapter in Mudhoney’s
ongoing story, the moral of which has to be: when in doubt, fudge it.
The album began at Music Source Studio, a large space equipped with a 24-
track mixing board - downright futuristic, compared to the 8-track setup that
birthed the band’s catalytic 1988 debut, ‘Touch Me I’m Sick’. The Music
Source session quickly turned into a false start when the results, in guitarist
Steve Turner’s words, “sounded a little too fancy, too clean.” Lesson learned,
the band went primitive and got to work at Conrad Uno’s 8-track setup at Egg
Studio. Named after the cartons pasted on the walls in an optimistic attempt
at sound-proofing, Egg boasted a 1960s vintage 8-track Spectra Sonics
recording console, originally built for Stax in Memphis.
So it was that, in the spring of 1991, Mudhoney made ‘Every Good Boy
Deserves Fudge’. The resulting album is a whirlwind of the band’s influences
at the time: the fierce ‘60s garage rock of their Pacific Northwest
predecessors The Sonics and The Lollipop Shoppe, the gnashing posthardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the
lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism
of Zounds and the satirical ferocity of ‘80s hardcore punk. The quartet’s
special alchemy meant these fond homages never slid into pastiche.
Ultimately, ‘Every Good Boy Deserves Fudge’ epitomised the best of
Mudhoney: here was a band reconnecting with its purest instincts and, in the
process, reinventing itself.
This 30th Anniversary edition, remastered by Bob Weston at Chicago
Mastering Service, stands as testimony to the creative surge that drove them
in this period. The album sessions yielded a clutch of material that would
subsequently appear on B-sides, compilations, and split-singles. This edition
includes all those tracks and a slew of previously unreleased songs,
including the entire five-track Music Source session.

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30,21
Piroshka - Love Drips & Gathers

Piroshka

Love Drips & Gathers

12inchBELLA1219V
Bella Union
23.07.2021

Bella Union announce the release of Piroshka’s stunning second album,
‘Love Drips And Gathers’. The album builds on the acclaim of the band’s
2018 debut LP ‘Brickbat’ and the reputations of former members of Lush,
Moose, Elastica and Modern English.
Piroshka emerged in 2018, four individuals with distinct musical identities but
also overlapping histories - a combination that might have unsettled, or even
overwhelmed, some bands. But in their case, the bond only got stronger.
After ‘Brickbat’ explored social and political divisions by way of what MOJO
described as “Forceful, driving garage songs and dream-pop epics,” ‘Love
Drips And Gathers’ follows a more introspective line - the ties that bind us, as
lovers, parents, children, friends - to a suitably subtler, more ethereal sound,
whilst still revelling in energy and drama.
“If ‘Brickbat’ was our Britpop album, then ‘Love Drips And Gathers’ is
shoegaze!” reckons vocalist/guitarist Miki Berenyi, formerly of Lush, a band
that effortlessly bridged the two genres like no other. “It wasn’t intentional; we
just wanted a different focus. I’ve always seen debut albums as capturing a
band’s first moments, when you really have momentum, and then the second
album is the chance for a more thoughtful approach.”
Bassist Mick Conroy (Modern English) agrees. “‘Brickbat’ was a classic first
album; noisy and raucous. On ‘Love Drips And Gathers’, we’ve calmed down
and explored sounds, and space.”
The way ‘Love Drips And Gathers’ changes shape and dynamic is less a
reprise of Nineties Brit indie than a transformation into a more shivery, Euromantic version with glistening electronic filigrees. The opening ‘Hastings’ sets
the tone. Luminous drops of guitar underpin Miki’s becalmed vocal before
drums, bass and a Mellotron add pace while the decorative coda features
their old pal Terry Edwards on flugelhorn.
‘Love Drips And Gathers’ - named after a line in a Dylan Thomas poem - was
inspired by love, family, belonging, memory. Miki and Moose split the eight
lyrics, with some poignant overlaps here too. Miki’s ‘Loveable’ looks to
Moose; Moose’s ‘The Knife-Thrower’s Daughter’ looks to Miki but also their
daughter Stella and his sister Anna; an empathic, touching embrace of the
women in his life.
Staying within the family, Moose eulogises his late mother (the idyllic
childhood seaside trip of ‘Hastings 1973’) and father (the more conflicted
‘Scratching At The Lid’). On ‘V.O.’, Miki pays fond tribute to Vaughan Oliver,
4AD’s legendary in-house art director who died suddenly in December 2019
and who had a particularly close relationship with Lush during their time on
the label (like ‘Brickbat’, ‘Love Drips And Gathers’’ beautiful and enigmatic
artwork is by Vaughan’s former design partner Chris Bigg).
LP pressed on clear vinyl.

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25,17
Thalia Zedek - Been Here & Gone

Thalia Zedek

Been Here & Gone

12inchTHRILL544LP
Thrill Jockey
23.07.2021

In celebration of the 20th Anniversary of the release of
legendary singer / guitarist Thalia Zedek’s ‘Been Here
and Gone’, Thrill Jockey are proud to present the
album on vinyl for the very first time, remastered by
Sarah Register.
Thalia Zedek has been one of the most enduring rock
musicians of the past four decades. From her
auspicious beginnings in bands Uzi, Live Skull and
Dangerous Birds to her wider recognition in Come,
Zedek established herself as a singular voice accruing
accolades from critics and contemporaries including J.
Mascis, Kurt Cobain and Bob Mould.
‘Been Here and Gone’, her debut solo release,
originally released on Matador in 2001 on CD, marked
a turning point in Zedek’s music. As Come were
coming to a close, Zedek began exploring writing and
performing as a solo artist, eventually backed by violist
David Curry, pianist Mel Lederman (both went on to
perform with Zedek for two decades), as well as former
Come bandmates Chris Brokaw and Daniel Coughlin.
The idiosyncrasies of her voice were laid bare for the
first time, revealing an even greater depth to her
unique songwriting. The more spacious and rich
arrangements sprawl and whisper with powerful
vulnerability.
Deluxe packaging featuring photos of the recording
session on the inner sleeve. Includes digital download
card.

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25,17
Becca Stevens - WONDERBLOOM

Becca Stevens

WONDERBLOOM

2x12inchGUM032020LP
GroundUP Music
23.07.2021

Since making her debut with the 2011 album Weightless, singer/songwriter/multi-instrumentalist Becca Stevens has tested the limits of musical identity, mining everything from jazz to Irish folk to indie-rock in her striving for complete and authentic expression. In her latest musical endeavor—the five-track EP WONDERBLOOM and a soon-to-follow full-length of the same name—the North Carolina-bred, Brooklyn-based artist again defies all expectation, this time dreaming up a groove-heavy, dance-ready sound infused with elements of pop and funk and R&B. But despite its brighter textures and uptempo rhythms, WONDERBLOOM finds Stevens achieving a profound complexity in her lyrics, ultimately redefining what’s possible in creating music that elevates and edifies. Centered on the captivating vocal presence she’s showcased as a member of David Crosby’s Lighthouse Band, WONDERBLOOM telegraphs an unabashed joy that Stevens partly attributes to the project’s production. In a bold new turn for her musical career, Stevens co-produced and co-engineered WONDERBLOOM alongside Nic Hard (Snarky Puppy, Ghost-Note, The Church), overseeing every aspect of the recording and claiming a sense of agency that had long eluded her in the studio. “Nic and I were truly working as equals and trusting each other to get the job done, and it was an incredibly empowering experience for me,” she says. In another major departure, Stevens purposely brought a communal sensibility to the making of WONDERBLOOM —an undertaking that resulted in more than 40 musicians contributing to the album, including Vulfpeck guitarist Cory Wong, Jacob Collier, and all of her Lighthouse bandmates (i.e., keyboardist Michelle Willis, Snarky Puppy bandleader Michael League, and David Crosby himself).

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24,33
Slowly Rolling Camera - Where the Streets Lead

Where the Streets Lead is the new album from Slowly Rolling Camera, and builds on their acclaimed 2018 release Juniper. Inspired by colliding worlds of jazz, trip-hop, and cinematic soundscapes, SRC’s music blends strong melodies, big grooves, and surprising turns of phrase, and is infused with expansive emotional gravitas. The music on this album, recorded throughout 2020, encompasses greater scale, with an 8-piece string section and a list of world-class guests including Mark Lockheart, Jasper Høiby, Verneri Pohjola, Chris Potter and Sachal Vasandani as well as the band's regular guitarist Stuart McCallum. Where the Streets Lead is emphatic in its purpose: communicating the joy of collaboration and, through an audio-sensory landscape, a vision of the world. There is a boldness and simplicity in the album’s conception, balanced with attention to detail in its production and sound design. Slowly Rolling Camera’s last album Juniper set the band on a new path. Where the Streets Lead is a natural progression and development in the band’s’ continued exploration.

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24,33
THALIA ZEDEK - BEEN HERE AND GONE

In celebration of the 20th anniversary of the release legendary singer/ guitarist Thalia Zedek's Been Here and Gone, Thrill Jockey is proud to present the album unlike it has ever been heard before: on vinyl, re-mastered by Sarah Register. Thalia Zedek has been one of the most enduring rock musicians of the past four decades. From her auspicious beginnings in bands Uzi, Live Skull, and Dangerous Birds to her wider recognition in Come, Zedek established herself as a singular voice accruing accolades from critics and contemporaries including J. Mascis, Kurt Cobain, and Bob Mould. Been Here and Gone, her debut solo release originally released on Matador in 2001 on CD, marked a turning point in Zedek's music. As Come was coming to a close, Zedek began exploring writing and performing as a solo artist, eventually backed by violist David Curry, pianist Mel Lederman (both of which went on to perform with Zedek for two decades), as well as former Come bandmates Chris Brokaw and Daniel Coughlin. The idiosyncrasies of her voice were laid bare for the first time, revealing an even greater depth to her unique songwriting. The more spacious and rich arrangements sprawl and whisper with powerful vulnerability. "There was definitely something magical about the making of Been Here and Gone," says Zedek. "I'm not sure if it was because it was made at a studio called Higher Power in a recently desanctified church in Stuyvesant, NY, or if it was because it was the end of a century, not to mention a millennium, the end of a decade of being in Come, the longest running band I'd had up to that point, and the end of 5 years of unhappy breakups and tumultuous relationships in my personal life." The eleven tracks that comprise Been Here and Gone embody that tension of uncertainty with a hopeful edge of renewal. Zedek's indelible resilience lifts even the somberest laments into triumphs. Even on the album's three cover tunes, including a haunting rendition of Leonard Cohen's "Dance Me to the End of Love," Zedek's voice and guitar color every note with raw emotion, making each passing gesture personal. Been Here and Gone channels the thunder and roar of Zedek's past into a fragile magnificence.

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24,50
Glen Campbell - Live From The Troubadour

When Glen Campbell walked onstage at the Troubadour on West Hollywood’s Sunset Strip on August, 19, 2008, he was even more iconic than the legendary venue that birthed The Byrds, Buffalo Springfield, Elton John, Jackson Browne, Linda Ronstadt and the Eagles. 'Performing a stunning mix of songs embedded in our DNA (“Rhinestone Cowboy,” “Galveston”) and unexpected jewels from Lou Reed (“Jesus”), Foo Fighters (“Times Like These”), Tom Petty (“Walls (Circus),” “Angel Dream”), Paul Westerberg (“Sadly Beautiful”) and Green Day (“Good Riddance (Time of Your Life)”), Campbell is in fine voice and demonstrates on more than one song his dexterity, tone and emotional transparency on guitar. With a band that includes four of his children, session and live veterans from Beck, Jellyfish, Jane’s Addiction, Murphy’s Law, D Generation and Danzig, it was a night of music that explored the commonalities of genres, country-tinged arrangements and how good live music feels. RADIO: BBC Radio 2 Play, Chris Country Premiere, Absolute Country, Downtown Country, Smooth Country PRESS: Country Music Publications TW: 19.7K, FB: 339K, IG: 12.5K Available as a standard CD jewelcase and 2-disc vinyl.

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50,38
Various - Eddie Piller Presents More of The Mod Revival 2x12"
  • A1: The Nips - Gabrielle
  • A2: Dolly Mixture - New Look Baby
  • A3: The Blades- Revelations Of Heartbreak
  • A4: The Crooks - Modern Boys
  • A5: Inspiral Carpets - Saturn 5
  • A6: The Users - Kicks In Style
  • A7: Untamed Youth - Untamed Youth
  • B1: Les Elite - Get A Job
  • B2: The Gents - The Faker
  • B3: The Name - Fuck Art Let’s Dance
  • B4: The Scene - Something That You Said
  • B5: The Killermeters - Why Should It Happen To Me
  • B6: The Accidents - Blood Spattered With Guitars
  • C1: The Fixations - No Way Out
  • C2: The Leepers - Paint A Day
  • C3: The Variations - Fight Back
  • C4: The Same - Movements
  • C5: The Kick - Stuck On The Edge Of A Blade
  • C6: Daggermen - Ivor The Engine Driver
  • C7: New Hearts - Only A Fool
  • D1: The Long Ryders - Looking For Lewis And Clark
  • D2: Ocean Colour Scene - The Day We Caught The Train
  • D3: Nine Below Zero - Pack Fair & Square
  • D4: The Jolt - I Can’t Wait
  • D7: The Moment - Sticks & Stones
  • D5: The Inmates - Dirty Water
  • D6: Scarlet Party - 101 Dam-Nations

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…

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10,88
Shūko No Omit - Himitsu No Kaikoroku

Shūko No Omit is a trio of Yonju Miyaoka on guitars and vocals, Yuya Oishi on drums, and Taiju Sugimori on bass: a classic framework for a rock band, and yet...

Led by Yonju Miyaoka, a young prolific musician from Osaka who lives with schizophrenia, Shūko No Omit could have found a home in the P.S.F. records catalogue curated by the late Hideo Ikeezumi, sitting alongside Go Hirano, Tori Kudo, Chie Mukai / Ché Shizu, and Kousokuya. Yonju Miyaoka's music seems haunted by the psychedelic rock of the late seventies, by its electric, solitary ghost minstrels, perhaps also inhabited by the impulsive riffs of no-wave.

His voice can sound slightly out of tune to the western ear, on the edge, and maybe this is what makes it so terribly moving. His guitar seems to be soaked in the same acid as poured out by the amplifiers of Keiji Haino or Takashi Mizutani, a mercurial grain, a wild and inhabited psychedelia. The compositions crawl towards their ends in a reptilian, winding way, in a mud of saturation and distortion, almost overlaying like tracing paper sheets, in a disordered manner. These six tracks evoke inner collapse, loss, expectations and oblivion.

Like his elders, Miyaoka shows a nonchalant, almost dilettantish way of building songs, preferring a chipped body, the trace of a conundrum disorder, to schoolboy academic perfection.

This album is a long improvisation with a punctured, dismembered body, thrown in here like a bucket full of viscera, and reassembled in an alternate fashion. Miyaoka lies there, naked.

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29,37
Deniz Cuylan - No Such Thing As Free Will

"Deniz Cuylan seems to invent new languages for the guitar."
The Guardian

"No Such Thing As Free Will throws down a major point to ponder in its title."
A Closer Listen

"An unusually rewarding debut." A-
The Vinyl District

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20,97
The Members - Bedsitland

'Bedsitland' features three of the classic 1978 line up of The Members that recorded anthems and international hits for Stiff, Virgin
and Arista in the 70s and 80s.
The 'Bedsitland' album features ten fantastic new songs. What sets The Members aside from their contemporaries is the breadth of
the styles of music - sparkling guitars, throbbing bass, plus a lush mix with violins, whistles, uilleann pipes and accordions: New
Wave, Surf, Glam, Reggae and Punk mutate into a soup that is both unique and English. Echoes of The Kinks and early Floyd collide
with Krautrock beats and screaming leads. JC's unerring ability to write songs that tell stories and communicate directly with the
listener underpins the whole album. From the social isolation of the title track to the hypnotic, filmic 'The Day The World Stood Still'
through the travelogue of the 'Streets of Nairobi', The Members take you on a journey

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24,33
DESCENDENTS - 9TH & WALNUT

Descendents

9TH & WALNUT

12inch278431
Epitaph UK
23.07.2021

Most of these songs have not been heard until now. Formed in L.A.’s South Bay in 1978, DESCENDENTS began as a power trio featuring bassist Tony Lombardo,
drummer Bill Stevenson, and guitarist Frank Navetta (d. 2008).
The band recruited vocalist Milo Aukerman in 1980 and began establishing
themselves as major players in the Southern California Punk movement. Over
the years, the band has sustained a potent chemistry and shared vision, further
cementing them as punk legends.
In 2002, the original four-piece lineup Frank Navetta, Tony Lombardo, Bill
Stevenson, and Milo Aukerman got back into the studio to finally record their
first-ever songs. The songs were written by the band from 1977 through 1980,
before recording the Fat EP (1981) and the Milo Goes to College LP (1982).
Every element of DESCENDENTS’ genre-creating sound is here: Stevenson’s
hyper-caffeinated surf-beats, Lombardo’s intrepid bass, Navetta’s crunching attack, Aukerman’s impassioned, infinitely relatable singing and all those great
melodies and harmonies.

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23,82
JIMMY SMITH - GROOVIN’ AT SMALL’S PARADISE

Limited edition 6-panel digipack or 180g vinyl 2LP set in deluxe gatefold
sleeve with iconic pictures by jazz photographer Francis Wolff. Originally
released as ‘Groovin’ at Smalls’ Paradise Vols.1 and 2 (Blue Note BLP-1585
& BLP -1586).
Jimmy Smith’s unparalleled skills with the Hammond helped to popularize the
electric organ as a jazz and blues instrument, and he recorded prolifically during his long career. A perennial poll winner since the late ‘50s, Smith redefined
the instrument.
His new sound utilized the first three draw bars and the percussion feature of
the Hammond B-3. Recorded live in 1957 at the Smalls’ Paradise club in New
York, this LP showcases Smith in a trio format backed by guitar and drums.
“On Groovin’ at Smalls’ Paradise, Smith is in his element in a club setting. This
is the Smith album to get.”

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30,13
JOHN R. MILLER - DEPRECIATED

John R. Miller

DEPRECIATED

12inch1166101270
ROUNDER RECORDS
23.07.2021

John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”

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25,59
Ernest RANGLIN - In The Rain

Emotional Rescue and HMV Record Shop (Japan) team up to present six limited edition 7"s of DISCO REGGAE LOVERS music. Featuring Sugar Minnott, Dambala, One Blood, 101 Band, Red Cloud and here to start, for the first time ever as a single, Ernest Ranglin's, cover of The Dramatics R&B classic, In The Rain.

A defining guitarist and composer in the development of Jamaican music, Ranglin's career spanned mento to reggae, playing on the groundbreaking recording of My Boy Lollipop itself, before going on to work with the likes of the Skatalies, Jimmy Cliff and Bob Marley.

Moving to Florida in 1982, he teamed up with Noel Williams to mix the bass heavy sound the producer was famous for with Ranglin's unique playing. Featuring a who's who of the Miami scene including Bobby Caldwell, Timmy Thomas, Betty Wright and Williams himself, In The Rain continued the link between R&B and reggae to sweet perfection.

To accompany, for half this series, a modern producer offers their own remix. Here Nik Weston, DJ, promoter and owner of the respected Mukatsuku label, releasing afro, jazz dance and more and with a long standing association with Japan, presents here an instrumental dub - letting the groove roll and Ranglin's ubiquitous playing to shine."

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12,82

Last In: vor 3 Jahren
DAMBALA - Lorraine

Dambala

Lorraine

7"-VinylERC122
Emotional Rescue
22.07.2021

The DISCO REGGAE LOVERS series reaches a zenith with the first ever reissue of Dambala and their beautiful reggae roots song Lorraine. Long a diggers secret, it seemed only apt to ask the DJ who brought it to the attention of many, with a wonderful dub by label stalwart, Lexx.

Born in Lagos, Nigera but growing up in the Harrow Road area of West London, Augustus "Gus" Anyia immersed himself in the music of area during the vibrant 60s awakening of African and Caribbean cultures. Learning drums as a boy, he quickly progressed to classical guitar and would perform at school and beyond.

Jamming with guitarist Alvin Christie led to them forming Dambala in 1975. Their first releases set them on their way, produced by Jimmy Lindsey, mixed by Dennis Bovell and cut by Porky. From there more singles followed, repeatedly touring Europe and recording for a TV documentary, before pressures took hold and following a change in line up, the band recorded their sole album, Azania.

Lorraine was the stand out, a wonderful love song of youth's forlorn love, it's warm drum and bass encompassing the yearning lyric. A small masterpiece of UK roots in it's own right, this special 7" comes with a simple, but perfect dub mix from Lexx and will be followed by a comprehensive reissue of Dambala by the label.

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10,88

Last In: vor 4 Jahren
Wolfgang Dauner - Sun Is Rising

For this 1969 recording Wolfgang Dauner expands beyond his more typical jazz settings, introducing psych and eastern raga touches with the fuzz guitar and sitar of Siegfried Schwab. The trippy ‘Sun Is Rising’, aka ‘Take Off Your Clothes to Feel the Setting Sun’, is perhaps the highpoint of Dauner’s short-lived Oimels band. Side B’s ‘A Day In The Life’ reworks the Beatles cover into a minimalistic masterpiece. Previously released in edited form on an impossibly rare 1970 MPS single, this release now features the full length 3:56 version on the A side.

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19,54

Last In: vor 4 Jahren
Orchestre Poly-Rythmo de Cotonou Dahomey - Gbeti Ma Djro / Angelina II

More dancefloor dynamite from Benin's almighty Orchestre Poly-Rythmo de Cotonou Dahomey, this time in the form of 'Gbeti Ma Djro'. Confusingly described on the centre label of the 1971 original issue as ’Soul’, this is in fact a prime slice of Afro-psych-funk complete with wails and grunts over fierce drums and picked guitar. 'Angelina II’ is a much warmer affair that rides a shuffling mid-tempo pachanga groove. Both tracks were transferred, restored and mastered from the original 1/4 inch tape.

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12,14

Last In: vor 4 Jahren
Bloodclot - Up In Arms

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

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24,66
Various - Wallahi Le Zein!

Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

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22,06
ELVIS PRESLEY - ELVIS IS BACK!

Glamourama Records Classic Lps On 180g Vinyl + 7” Bonus Single On Colored Vinyl Included Inside (plus bonus track “I Gotta Know”. Package includes an exclusive collector’s re-release of a very rare 1960 single including the hits “It’s Now or Never” and “A Mess of Blues”. ELVIS PRESLEY vocals and guitar, plus: Scotty Moore (guitar), Bob Moore (bass), D.J. Fontana or Buddy Harman (drums), Floyd Cramer (piano), The Jordanaires (backing vocals). Recorded at RCA’s Studio B, Nashville, Tennessee, March 20 & 21, 1960. Hank Garland (guitar), Boots Randolph (saxophone & claves), Charlie Hodge (vocal harmony). Recorded at RCA’s Studio B, Nashville, March & April 1960. Produced by Steve Sholes & Chet Atkins. 7” SINGLE: ELVIS PRESLEY, vocals and guitar; Scotty Moore (guitar), Hank Garland (electric bass on “A Mess of Blues”, guitar on “It’s Now or Never”), Bob Moore (bass), D.J. Fontana or Buddy Harman (drums), Floyd Cramer (piano), The Jordanaires (backing vocals), Homer “Boots” Randolph (sax) added on “It’s Now or Never”. Recorded at RCA’s Studio B, Nashville, April 4, 1960 (“It’s Now or Never) & March 21, 1960 (“A Mess of Blues”). Originally issued on the single 7” RCA Victor 47-7777 in 1960

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19,71
Strapping Young Lad - Syl

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.

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29,37
JOHN MCLAUGHLIN - LIBERATION TIME

For more than five decades, John McLaughlin has deployed his peerless guitar technique, compositional gifts, and imagination in service of a deeply personal higher calling, forging a vast legacy unmatched in improvised music. Now as the world reels from the toll of the ongoing viral-induced global lockdown, McLaughlin reflects on both the perils and potential of this challenging moment with ‘Liberation Time’. Characterised by both joy and reflection, ‘Liberation Time’ finds McLaughlin harnessing his frustrations and redirecting that energy. “The result,” he explains in a candid liner note, “was an explosion of music in my mind.”. Unusual for McLaughlin’s recent projects, ‘Liberation Time’ is not the work of one fixed ensemble. With physical proximity no longer a prerequisite, McLaughlin drew upon decades of experience as a bandleader to select musicians best suited to each composition. “That is a choice that can only be made correctly if you know how the musicians play,” he explains. “Not just how well they play technically, but how they play intuitively. Only then can you make the right decisions.” “As the Spirit Sings” introduces the album by contrasting churning rhythmic tension (stoked by drummer Vinnie Colaiuta and bassist Sam Burgess) with McLaughlin’s soaring guitar figure - all underpinned by Gary Husband’s subtle,expansive piano. Knotty post-bop figures form the basis of “Right Here, Right Now, Right On,” one of the most jazz-inflected performances McLaughlin has laid down in some time, featuring Nicolas Viccaro (drums), Jerome Regard (bass), Julian Siegel (tenor saxophone), and Oz Ezzeldin (piano). It is impossible to ignore the profound brotherhood that exists between the members of 4th Dimension - McLaughlin’s current ensemble, which includes Husband along with Etienne Mbappe (bass) and Ranjit Barot (drums). They are featured on the soulful “Lockdown Blues,” a playful refraction examination of blues tropes first released last summer to benefit the Jazz Foundation of America.

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34,41
LIGHTNING BOLT - LIGHTNING BOLT

Lightning Bolt

LIGHTNING BOLT

2x12inchTHRILLX498
Thrill Jockey
16.07.2021

"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." - LA Times Since their first moment it seems like they've been as electric as their name suggests. Lightning Bolt, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that's been described as most feeling like being at one of their shows. It's difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud, and the riffs repeated become mesmerizing as they warp slowly thru the songs. Long saught after, this record has not been available new on vinyl since it's first pressing. This edition includes songs which have never before been released on vinyl. A must have for any Lightning Bolt fan, or really anyone who loves noise.

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28,11
The Bluetones - Expecting To Fly - 25th Anniversary Edition

• Hailing from Heston in West London, The Bluetones (Scott Morriss – bass, Eds Chesters – drums, Adam Devlin –
guitars, and Mark Morriss – vocals) arrived on the scene in 1995 with their debut single “Are You Blue Or Are
You Blind?”. They followed this up with “Bluetonic” and then “Slight Return”, which reached # 2 on the UK
singles chart. The debut album “Expecting To Fly” was released in February 1996, and went straight to # 1.
• This 3 LP box set contains the original 1996 album, a 12 track LP of non-album A- and B-sides, as well as the
collection of pre-fame demos “The Early Garage Years”. The box also contains the 12 x 12 booklet from the
original limited edition sleeve, as well as a note by 6Music DJ Steve Lamacq.
• The three LPs are pressed on 180 gram blue vinyl.
























[x] e1. Are You Blue Or Are You Blind? [demo]
[y] e2. Talking To Clarry [demo]
[z] e3. Carnt Be Trusted [demo]
[xa] e4. Slight Return [limited edition UK/Japan 7" single]
[xb] e5. No. 11 (Bluetonic) [from the Fierce Panda "Return To Splendour" EP]
[xc] f1. The Fountainhead [demo]
[xd] f2. Time & Again [demo]
[xe] f3. Cut Some Rug [homemade 4-track recording]
[xf] f4. Talking To Clarry [homemade 8-track recording]
[xg] f5. Are You Blue Or Are You Blind? [homemade 8-track recording]

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73,91
ZAKE / ISAAC HELSEN - Beliefsystems

A joint effort long past due, PITP founders zake and Isaac Helsen team up to bring forth three arrangements that encompass textured ambient washes and drone-laden guitar work titled 'Beliefsystems'.

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22,65

Last In: vor 4 Jahren
Pleasure - Saint Albans

Pleasure is a Sydney based music project that utilizes distorted synths, irregular drum beats and fluid song structures to create energetic and hypnotic pieces that straddle the line of bright and abrasive.The trio is comprised of Adam Connelly (synthesizers + vocals) Jonathan Boulet (bass guitar + fx pedals) and Hugh Deacon (drums). When playing live and on record, their music is improvised and unrehearsed with no laptops or backing tracks. “One of us will introduce an idea and the rest will follow.”

Their debut LP Saint Albans, was conceived and recorded in a small farm house in the town of Saint Albans, New South Wales, over 3 days from the 12th to the 14th of October 2019. The building has since burned down in the 2019 Australian Bushfires. “We came away from this session with close to 20 hours of material that we edited down into consumable pieces.” This is the case for all tracks except BRAIN WASTE 191013 which was left intact and unedited.

They launched the Australian release of the album by playing a 6 hour endurance set in a warehouse in Sydney’s Inner West. “Our sonic influences seem very obvious but we haven't been called out yet. Mainly Boards of Canada, Black Moth Super Rainbow, Aphex Twin, Fuck Buttons, Blanck Mass and Lightning Bolt.”

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24,33
Anthonie Tonnon - Leave Love Out Of This

Tonnon produced the album with longtime collaborator, and The Beths’ guitarist and producer, Jonathan Pearce. Tonnon wrote the bulk of the songs during an extensive period of touring after the release of Successor - a period where Tonnon performed with Nadia Reid in Europe, The Veils in the USA, and The Chills, The Phoenix Foundation and Don McGlashan in New Zealand. The pair workshopped songs between tours, often recording new parts as the live versions developed.

Tonnon and Pearce recorded between 2017 and 2020, and in that time, Tonnon’s practise evolved heavily. He incorporated new technology into his set, including the Wellington-designed Synthstrom Deluge, which allowed him to adapt his set for new performance environments;Art Galleries, Museums, even New Zealand Fashion Week. He took that technology further when he collaborated with the Otago Museum on the immersive show for Planetariums, A Synthesized Universe, which travelled to Arts Festivals around New Zealand in 2019.

Creating a music video for ‘Old Images,’ which explored a lost passenger train network, Tonnon came to the idea for a new experience-based show called Rail Land. It took audiences on railways to reach distant community halls around Aotearoa. The show saw Tonnon combine historical research and spoken word narrative, with the immersive lighting and musical technology he developed for A Synthesized Universe. In March, Rail Land finished a three-night run at Auckland Arts Festival, cementing Tonnon’s move to the concept show.

Over time, Tonnon and Pearce’s production moved further from the traditional rhythm sections that powered songs like Successor’s ‘Water Underground.’ In their place came off kilter electronic rhythms, like the beat in ‘Two Free Hands,’ and textures that blur lines between organic and synthesized sound. Guitars are set against synthesizers, and drums against drum machines in ‘Entertainment’ and ‘Peacetime Orders,’ which Tonnon also used in his soundtrack for RNZ’s 80s spy-themed podcast The Service. In ‘Leave Love Out Of This,’ a ballad starts with a piano and a string quartet, but ends in a wall of electronic sound.

The constant has been Tonnon’s lyrics. Whether singing about evolution and the future of work in ‘Two Free Hands,’ the television industry in ‘Entertainment,’ or environmental disaster and regulatory failure in ‘Mataura Paper Mill,’ Tonnon has followed a distinct approach to subject matter, description and phrasing that have seen him longlisted for the APRA Silver Scroll three times.

Tonnon’s explorations of local government and civic infrastructure in his work - an unusual preoccupation for a songwriter, have taken new meaning in his adopted home of Whanganui, where last year, he was elected by councillors as Whanganui District Council’s representative for public transport.

After Tonnon moved to Whanganui, and Pearce toured almost constantly after the success of The Beths’ first album, the pair conducted their collaboration over distance, but with key sessions at Pearce’s Karangahape Road studio, including drums and bass with long time band members Stuart Harwood and David Flyger, a string quartet led by Charmian Keay and arranged by Matthew Bodman, and additional drums with The Beths’ Tristan Deck.

As Leave Love Out Of This is released, Tonnon and Pearce find themselves in very different places to where they started, working on Auckland’s Karangahape Road, close to the venues like Wine Cellar and Whammy Bar where they regularly performed. Back in New Zealand since Covid, Pearce has had to adjust to being in one of Aotearoa’s best-known bands, while Tonnon, when not working on conceptual shows, wrestles with how to restore civic infrastructure to a post industrial city in the regions.

Created over a life-altering period of, Leave Love Out Of This is the culmination of years of experimentation and development - with new technology, new sounds, and new ways of creating, and performing music.

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21,56
Golden Earring - Contraband

Golden Earring

Contraband

12inchMOVLP322C
Music On Vinyl
16.07.2021

Dutch rock band Golden Earring released their twelfth studio album Contraband in 1976. It was the first full album to feature Eelco Gelling as the band’s guitarist. With seven rocking tracks, this album is dominated by guitars – as demonstrated by lead single “Bombay” and by the long guitar solos on “Con Man” and “Mad Love’s Comin’”. Contraband was well received by music critics and charted at #12 in the Dutch album charts.

The album is available as a limited edition of 1500 individually numbered copies on orange & black mixed vinyl, and includes a
4-page booklet.

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28,53
Acid Dad - Take It From The Dead

Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018. During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society. “Take It From The Dead” features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound. Take It From The Dead is out June 11th via Greenway Records / The Reverberation Appreciation Society on Deluxe LP & CD.

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22,65
Ida Mae - Click Click Domino

Ida Mae

Click Click Domino

12inch56582LP
Vow Road
16.07.2021

For nearly two straight years following the release of their critically acclaimed debut, Chasing Lights, Ida Mae lived on the road, crisscrossing the US from coast to coast as they performed hundreds of dates with everyone from Willie Nelson and Alison Krauss to Marcus King and Greta Van Fleet. And while those shows were certainly formative for the electrifying British duo, it was what happened in between — the countless hours spent driving through small towns and big cities, past sprawling suburbs and forgotten ghost towns, across rolling plains and snow-capped mountains — that truly laid the groundwork for the band’s transportive new album, Click Click Domino. Written primarily in the backseat of a moving car, the record embodies all the momentum and possibility of the great American unknown, offering up a series of cinematic vignettes full of hope and disappointment, promise and regret, connection and loneliness. The songs on Click Click Domino are raw and direct, fueled by an innovative mix of vintage instruments and modern electronics, and the performances are loose and exhilarating to match, drawing on early rock and roll, classic country, British folk, and 50’s soul to forge a sound that’s equal parts Alan Lomax field recording and 21st century garage band. Turpin and Jean produced the album themselves, recording primarily on their own in their adopted hometown of Nashville during the COVID-19 pandemic, and while the collection is certainly bolstered by appearances from high profile guests like Marcus King, Greta Van Fleet’s Jake Kiszka, and Ethan Johns, the heart and soul of the record remains Ida Mae’s intoxicating chemistry, which has never felt more vibrant, ambitious, or self-assured. Now married, Turpin and Jean first met a little over a decade ago while attending university in Bath. The pair bonded immediately over their love for the sounds of bygone eras, and they quickly earned rave reviews everywhere from the BBC to the NME with their raucous first group, Kill It Kid. Starting over fresh as a duo named for Sonny Terry and Brownie McGhee’s “Ida Mae,” the first song they ever harmonized on, Turpin and Jean relocated to Nashville in 2019 and released Chasing Lights to similarly widespread critical acclaim. Rolling Stone hailed the album’s “stomping swirl of blues and guitar-heavy Americana,” while The Independent lauded its “retro lustre” and “impressive experimentation,” and NPR’s Heavy Rotation called it “tightly drawn, harmonic and hypnotic.” The music helped the earn the duo a slew of support dates with the likes of Greta Van Fleet, The Marcus King Band, Blackberry Smoke, Josh Ritter, Rodrigo y Gabriela, and The Lone Bellow, as well as performances at Bonnaroo, the Telluride Blues & Brews Festival, the Philadelphia Folk Festival, Germany’s Reeperbahn Festival, and Switzerland’s Zermatt Unplugged.

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20,13
Wizardthrone - Hypercube Necrodimensions

"Behold! Arise! Vast distances from Earth’s dimension, in a galaxy millions of light-years away, the WIZARDTHRONE resurges! Traversing vivid sci-fi multiverses in the spirit of H.P. Lovecraft via comprehensively established technical death- power- and symphonic black metal, Hypercube Necrodimensions (out July 16 via Napalm Records) is a bombastic journey through hyperspace and otherworldly realities. Featuring members of ALESTORM, GLORYHAMMER, AETHER REALM, FORLORN CITADEL, NEKROGOBLIKON and more, the musical brilliance of WIZARDTHRONE is absolutely undeniable. Title track “Hypercube Necrodimensions” is a hard-hitting, astronomically technical trip through portals of the Euclidean reality, entering the fifth dimension with whirlwinding synth and guitar leads. Throughout the runtime of Hypercube Necrodimensions, WIZARDTHRONE effortlessly sear from one fast-paced sonic romp to another, evident with frost-bitten “Frozen Winds Of Thyraxia”’s orchestral blast beats, or “Forbidden Equations Deep Within The Epimethean Wasteland”’s incredibly elaborate, multi-faceted songwriting. Hypercube Necrodimensions finds its grand finale in the extensive 14-minute sci-fi experience “Beyond the Wizardthrone (Cryptopharmalogical Revelations of the Riemann Zeta Function)”, taking you through the prismatic light of the twin stars of Thyraxia into the cathartic revelations of WIZARDTHRONE’s cosmos! Featuring guest appearances from Aleksi Munter (SWALLOW THE SUN/INSOMNIUM), Florian Magnus Maier (DARK FORTRESS/ALKALOID) and Evan Berry (WILDERUN), Hypercube Microdimensions is a spectacular display of WIZARDTHRONE’s musical finesse, constantly pushing the boundaries of heavy metal and thus offering a one-of-a-kind Extreme Wizard Metal listening experience!

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18,36
Bros - Vol. 2

Bros

Vol. 2

12inchDAV299
Dine Alone Music
16.07.2021

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

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22,65
Blondie - Vivir en la Habana

During 2019, Blondie was invited to perform in Havana, Cuba as part of a cultural exchange through the Cuban Ministry of Culture. This was a 40 year ambition come especially for songwriter & guitarist Chris Stein, who had longed to visit Cuba for most of his life. Artist and director Rob Roth documented this special moment and career highlight by shooting a short film titled “BLONDIE: VIVIR EN LA HABANA”.

The film is broken up into 3 parts — Water, Fire and Air — and present a meditation on the experience as well as highlights from the two-night live musical performances with special guests Alain Perez, David Torrens and Cuban Fusion Pioneers Sintesís at Havana’s famous Teatro Mella.

With narration from Blondie founding members Debbie Harry, Chris Stein, and Clem Burke, providing a glimpse into the passion and beauty they discovered in Havana and the magic moments of performing alongside incredible Cuban artists. “BLONDIE: VIVIR EN LA HABANA” goes beyond the atypical short form film and live music documentary by presenting a portrait of the legendary band’s first experience in Havana and of the magical exchange between musicians from the two cities each call home and their intertwined influences.

The sound track for the film features Cuban musicians Carlos Alfonso, Ele Valdés, María del Carmen Ávila, Alejandro Delgado, Juan Carlos Marin, Jamil Schery, Degnis Bofill, Adel González

Released in July on limited edition pale blue vinyl to accompany the film which will feature throughout 2021 in many prominent Film Festivals inc the Tribeca Film Festival.

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erscheint voraussichtlich am 16.07.2021

19,29
Nico Fidenco - Emanuelle In America (OST)

The finest and rarest chapter of EMANUELLE saga by the cult maestro Nico Fidenco and his loyal orchestra director Oscar Lindok (Giacomo Dell'Orso). Majestic original soundtrack of the sex thriller movie "EMANUELLE IN AMERICA" from 1977 directed by the legendary Joe D'Amato. Sexploitation cult and acclaimed director's third instalment of Black Emanuelle film series starring Dutch actress Laura Gemser. The deepest, intense and most thrilling volume of Black Emanuelle adventures with the best music cuts of the whole series. Spellbinding, breathtaking and wordless music with dreamy orchestral movements, unbelievable downtempo Funk and timeless beats, mental Afro-beat and dancing percussion, sweet Psychedelic guitars, subtle female chorus, heavy strings and orchestra, loungy sounds, driving funky drums and so on. Essential Italian OST masterpiece!

vorbestellen16.07.2021

erscheint voraussichtlich am 16.07.2021

28,53
Hurry - Fake Ideas

Hurry

Fake Ideas

12inchLMO77LPC3
Lame-O records
16.07.2021

Matt Scottoline recorded Hurry’s fourth studio LP Fake Ideas in the days leading up to the outbreak of COVID-19, not that the two are linked in any way, with bandmates Rob DeCarolis (Univox), Justin Fox (Cherry, Kite Party), and Joe DeCarolis (Psychic Teens). Fake Ideas is the successor to Hurry’s Every Little Thought, released on Lame-O Records in 2018, which is an album that could be considered very successful when judged by certain parameters. Fake Ideas maintains the band’s beloved anxiety-ridden affability, while taking a more guitar-driven route to dive deeper into their classic power pop sound.

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erscheint voraussichtlich am 16.07.2021

23,49
The Same - Sync or Swim

Before there was Rimarimba, Suffolk-born, Felixstowe-based musician and home recording enthusiast Robert Cox assembled a cast of friends, some musicians and some not so much, for an experiment in group exploration and ecstatic expression under the name The Same. Sonically and gravitationally defined by Cox’s collaboration with guitarist Andy Thomas (a partnership which formed in 1976 to record as General Motors), Sync or Swim, The Same’s one and only album, also featured keyboards by Florence Atkinson and Paul Ridout, and vocals by Robert’s sister Rebecca.

Originally released in small cassette and vinyl quantities on Unlikely Records, Cox’s imprint and a meeting point for many other musicians found at the fringe, the back cover of the original album jacket is as much a map of the personnel, place, and process

fundamental to Sync or Swim as it is a table of contents for DIY music-making at the beginning of the 80s: “Recorded in peaceful Wiltshire between September 18th and October 6th 1981 (using a miscellany of home made devices) onto a Teac A-3300SX via a Teac A-3440. No noise reduction systems were used.”

The additional equipment listed – a combination of consumer technology and DIY innovation – speaks to an unpretentious, improvisational ethos that pilots Sync or Swim, and Cox’s career as a whole. Rimarimba, whose near complete discography Freedom To Spend made available again in 2019, showcased Cox’s simultaneously hermetic and prolific creative process, while The Same celebrates making sound for sound’s sake and the serendipity surrounding those moments.

Wiltshire, home to the Stonehenge stone circles and a county of empty plains in the southwest of England, is worlds away from the commerce and industry of Glenn Branca’s New York City or Neu’s Düsseldorf. While The Same may feel in some ways like a British blend of these minimalist and motorik machinations, Cox and Thomas were curiously fascinated with The Grateful Dead and Frank Zappa’s brand of psychedelic music.

Cox’s own definition of British psychedelia is “folk music meeting technology and going bonkers.” It’s by this definition that Sync or Swim takes unexpected forms, from tape-speed tomfoolery, concrète sound collage and analog delayed marimbas, to the colorful spectrum of interwoven guitar play between Cox and Thomas reminiscent of Ghanaian Highlife but more accurately indebted to Jerry Garcia.

vorbestellen16.07.2021

erscheint voraussichtlich am 16.07.2021

23,15
Eliza Shaddad - The Woman You Want

‘The Woman You Want’ is Eliza’s 2nd album to be released on July 16th the same day as the single ‘Fine & Peachy’ with a firm nod to the female greats of the 90s is a solid guitar/bass/drums indie classic in the making. Eliza’s vocal oozes a sardonic disquiet that immerses the listener into her fury culminating in an almost evangelical middle 8. The campaign so far has had support from Radio 1, 6 Music, BBC Intro, BBC Scotland, The Times, The Independent & Clash. 12 date UK tour is on sale for November and a major live event will go live on Sky Arts 15.7.21 ‘The real deal’ Guy Garvey (Elbow) BBC 6 Music. Available on CD and 'bottled green' vinyl formats.

vorbestellen16.07.2021

erscheint voraussichtlich am 16.07.2021

26,01
ALTERNATIVE TV - ACTION TIME VISION 1977-1979

A limited edition of 500 copies on white vinyl. First ever reissue of Alternative TV's "Action Time Vision", compiled in 1980 and featuring the group's 7"es from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue.

What Mark Perry says:
"It wouldn't be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself.

My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77.

That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums.

I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes…"

vorbestellen16.07.2021

erscheint voraussichtlich am 16.07.2021

38,61
THE DURUTTI COLUMN - SEX AND DEATH

Factory Benelux presents an expanded double vinyl edition of Sex and Death, the 11th studio album by lauded Factory Records ensemble The Durutti Column. Originally released in 1994 on CD only, the album has now been re-mastered with 5 bonus tracks and appears on vinyl for the VERY FIRST TIME in a coloured vinyl edition limited to 1500 copies. The vinyl edition is housed in a gatefold sleeve . Disc 1 is pressed in blue vinyl, and disc 2 in silver. A 2xCD edition is also available (FBN 201 CD).

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erscheint voraussichtlich am 16.07.2021

32,31
Mr. K - Edits by Mr. K 7"

2023 Repress

This latest limited 7" from Mr. K features two incomparable baroque soul masterworks, one from a Chicago-based band that defied categorization and the other a deep cut from a living legend songwriter and performer.

The psychedelic soul of Rotary Connection’s “I Am the Black Gold of the Sun” still sounds revolutionary and unlike anything else, a full fifty years after it was originally released in 1971. Swathed in ethereal ripples of strings (courtesy the Chicago Symphony Orchestra) innovatively arranged by unsung genius Charles Stepney, and rooted in a rock solid foundation provided by the cream of Chicago’s cutting edge session musicians (among them guitarist Phil Upchurch and drummer Morris Jennings, veterans of countless soul jazz cuts), “Black Gold” sits in uncharted territory somewhere between soul, rock, jazz and classical chamber music. It’s a gorgeous territory, a fantasy land where Minnie Riperton and Sidney Barnes’s vocals transmit mystical, uplifting vibes, the entire affair anchored throughout by an addictive piano riff—a mixture that proved irresistible to Masters at Work, who covered it for their Nuyorican Soul project in 1997. Mr. K’s edit doesn’t try to force anything fancy on this masterpiece, simply tightening it up and taking advantage of the lush remastering to present this progressive classic on 45 for the first time.

In keeping with the orchestral soul mood, Mr. K turns to Stevie Wonder’s “Pastime Paradise” for the flip. Whereas “Black Gold” paints a portrait of a magical land, Stevie’s lyrics on “Pastime Paradise,” originally issued in 1976, are a penetrating look at the very earthbound concerns of modern society and its follies, an urgent message to look ahead rather than languish in dreams of the past. The sensitive string accompaniment provides just the right amount of gravitas and emphasis to Stevie’s voice without overwhelming it, while the hare krishna-inspired tambourine keeps the rhythm effectively. Mr. K’s edit again keeps things true to the original, simply providing a subtle intro that uses the tambourine rhythm to lead into the body of the song.

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10,04

Last In: vor 59 Tagen
ELLA FITZGERALD & LOUIS ARMSTRONG - ELLA & LOUIS

180g Coloured Vinyl Series. Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’ Prestigious Jazz Magazine. “....The mood of their Verve recording together, though, was deliberately gentler, less taxing, more intimate. These tunes, light in their way, almost homespun, are invested with an extraordinary humanity. There isn’t an ounce of sentiment in “Under a Blanket of Blue” or “Isn’t This a Lovely Day?”, but there is deep feeling and a profound sense of human solidarity. They were not singing about civil rights, there is no erotic charge in the encounter; when they sing about breaking hearts, it’s clear that everything is mendable. The challenge of bebop had been met and quietly negotiated. Here was jazz with its original message: the individual matters, but others matter, too. The mutual respect with which Ella Fitzgerald, Louis Armstrong and the other four exceptional musicians go through a repertoire of unforgettable standards selected by Granz is readily apparent. Songs like “They Can’t Take That Away from Me”, “Tenderly” and “April in Paris” make Ella & Louis a jewel of simplicity and timeless humanity.” Vocals; Louis Armstrong, Trumpet & Ella Fitzgerald Vocals; Oscar Peterson, Piano; Herb Ellis, Guitar; Ray Brown, Bass; Buddy Rich, Drums Hollywood, August 16, 1956. Original Session Produced By Norman Granz. *Bonus track: Ella Fitzgerald (vc), Louis Armstrong (tp, vc) with Bob Haggart & His Orchestra. New York, January 18, 1946. 5 Stars - Down Beat Magazine Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades.” (Nat Hentoff)

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21,30
SAM PREKOP - SAM PREKOP

Sam Prekop

SAM PREKOP

12inchTHRILL611
Thrill Jockey
16.07.2021

Sam Prekop's eponymously titled LP is a study in pop nuances. Simultaneously transporting the listener from mild climes and swinging palms to darkened skies and wind blown steppes, the record will be easily recognized by fans of The Sea and Cake. Known to many as the singer and main songwriter for said group, Mr. Prekop is assisted on this release by Chad Taylor (Chicago Underground Duo), Josh Abrams (ex-Roots, Town and Country), Jim O'Rourke (Gastr del Sol) and Archer Prewitt (The Sea and Cake). Those expecting to find more of the computer beats and trickery found on The Fawn and Two Gentlemen are in for a surprise. Whilst prevalent on "Faces and People" - (a lucious groove overlayed by cornet and guitar), the computer takes a back seat to real strings, drums, piano, electric piano and organ as well as electric and acoustic bass. The subtle grooves, a trademark of The Sea and Cake records, are still present here as Sam and his band blend West African rhythms with a bit of soul, jazz and pop. The resulting record is something wholly original, elegant and earthy. A cauldren, if you will, of sweet smelling and enlightening stew. So line up, grab a spoon, and dig in. All the ingredients and intoxicating aromas necessary for an auditory feast are contained within.

vorbestellen16.07.2021

erscheint voraussichtlich am 16.07.2021

24,75
WOODEN SHJIPS - WEST

Wooden Shjips

WEST

12inchTHRILLX279
Thrill Jockey
16.07.2021

Wooden Shjips, as it is today, started in 2006. The band self released a 10" and 7" that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums. West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the band's rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at The Lodge in New York.

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erscheint voraussichtlich am 16.07.2021

23,15
Jacob Gurevitsch - An Introduction

Three years ago Danish guitar player and highly acclaimed session musician Jacob Gurevitsch made his solo debut with 'Lovers In Paris', a sweetly melancholic single which conquered sunsets worldwide and earned a place in many quality compilations and has over 10 million views on Youtube. Roll forward to 2018 and this stunning track now heads up the Danish guitarist's first vinyl album, on Kenneth Bager's renowned Music For Dreams label. The original album of 'Lovers In Paris' album entered the iTunes chart at #1 position in Denmark and was (back then) being hailed as one of the Records of the Year by the Balearic Community. And the success story continues. With over 2 million monthly streams Jacob Gurevitsch is a name to watch.

This vinyl debut album 'An Introduction' consists of selected works from the 'Lovers In Paris album, a few from his 'Cinematica' Ep and some from his forthcoming album 'In Search Of Lost Time.'

One could say A kind of Greatest Hits.!

10 melodic and beautiful originals.

'Mexican Margarita' is a truly impressive piece of guitar work with superb bongos and bass - already an essential tune for any Balearic collector - and the recently released single 'Spanish Inquisition' a current DJ Harvey fave, shows his technical and compositional ante into the world of Flamenco. 'Mapa De Soledad' and 'Poesia Del Mar' both gorgeous and moving Mediterranean-flavoured ballads full of emotional keyboards, soulful strings and accordions. The indelible upbeat of 'Motive Loco' and elegiac cinematic 'In Search Of Lost Time' remains memorable long after listening and this hits the nail on the head.

Jacob Gurevitsch the guitar player and composer has a unique sensibility to write themes and melodies that transcend time and sound like divine interventions.

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26,01

Last In: vor 4 Jahren
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