Search:it was written

Soulside formed in Washington, DC, in 1985, split up in 1989, then reformed in 2014 and has continued playing and writing music since then. After releasing their debut album on Sammich/Dischord, they recorded Trigger (Dischord, 1988) and Hot Bodi-Gram (Dischord, 1989), which were combined on the Soon Come Happy CD in 1990. The band toured extensively in the US and Europe during these years, including groundbreaking shows in Poland and East Berlin shortly before the Berlin Wall fell in 1989.
In 2020, Soulside put out a new 7-inch, This Ship, their first release in 30 years, which was recorded in Prague. In late 2022, Dischord will release a 12-song Soulside album, A Brief Moment in the Sun, which was written during the heart of the coronavirus pandemic and recorded in person by J. Robbins in November 2021.

Monks Road Social are an ever-changing collective of artists (some well-known, some just starting out) all with one thing in common - a love of making music.

Following the three genre bending albums MRS has already released this time round Richard Clarke turned to WONDERFULSOUND head honcho Miles Copeland to navigate the the vibe alongside mainstay of the band, the inimitable Dr Robert of Blow Monkeys fame.

Miles first showed up on debut album Down The Willows with the dreamy 'Golden Day' featuring Isle Of White favourite Angelina.

First single 'I’ll Keep On Searchin’ featuring Dr Robert on vocals is a lilting soulful slice of summer pop combining sweet melancholy and wistful chord changes.

Dr Robert explains “The song came from a piece of music Miles presented to me. It put me in mind of “Friends” era Beach Boys or early Smokey so the song came very quickly. Lyrically its informed by a kind of yearning. A desire for change, growth and connection. The things we’ve all been missing so much that give life meaning”

Miles continues…
“The idea for this single came about from these 2 loops sampled from some charity shop record creating this infectious lazy, jazzy groove but I knew the music needed to change and become its own thing… so when the Monks Road Social posse came knocking I knew the calibre of musicians involved would be able to flip it around, and that’s how a majority of the LP was written”.

A space of wonderment and exhilaration, the home of
true heart and a timeless soul, Delays’ ‘Faded Seaside
Glamour’ was an atmospheric and evocative debut
album. Released in 2004, the fragile strength of
frontman Greg Gilbert’s vocals intoxicatedly
intertwined with the forward looking synths of his
brother Aaron, Colin Fox’s bass and Rowly’s
drumming, to create a series of affecting songs that
delivered an immediate pop hit that also left a deep
and wistful impact worthy of the album’s enticing title.
Its iconic singles, ‘Nearer Than Heaven’ and ‘Long
Time Coming’, became immediate yet lasting focal
points for Southampton’s Delays, while tracks
including the melancholic ‘No Ending’, the smooth
beats of ‘Stay Where You Are’ and chiming opener,
‘Wanderlust’, demonstrated the remarkable depth of
this unique debut.
Nearly 20 years have passed since the release of
‘Faded Seaside Glamour’ and much has changed -
most notably the loss of Greg Gilbert, who passed
away in 2021 after a period of treatment for cancer -
but like the idiosyncratic places the album’s name
celebrated, Delays’ music has not only endured but
their art has been loved and cherished as it has
continually connected with audiences.
To celebrate this soaring and smouldering body of
work, Rough Trade Records are pleased to announce
the release of Delays’ ‘Faded Seaside Glamour’ on
vinyl for the first time ever.
Also available to independent retailers on orange vinyl
with deluxe packaging, a print of Greg’s art and some
words written by Aaron.

A space of wonderment and exhilaration, the home of
true heart and a timeless soul, Delays’ ‘Faded Seaside
Glamour’ was an atmospheric and evocative debut
album. Released in 2004, the fragile strength of
frontman Greg Gilbert’s vocals intoxicatedly
intertwined with the forward looking synths of his
brother Aaron, Colin Fox’s bass and Rowly’s
drumming, to create a series of affecting songs that
delivered an immediate pop hit that also left a deep
and wistful impact worthy of the album’s enticing title.
Its iconic singles, ‘Nearer Than Heaven’ and ‘Long
Time Coming’, became immediate yet lasting focal
points for Southampton’s Delays, while tracks
including the melancholic ‘No Ending’, the smooth
beats of ‘Stay Where You Are’ and chiming opener,
‘Wanderlust’, demonstrated the remarkable depth of
this unique debut.
Nearly 20 years have passed since the release of
‘Faded Seaside Glamour’ and much has changed -
most notably the loss of Greg Gilbert, who passed
away in 2021 after a period of treatment for cancer -
but like the idiosyncratic places the album’s name
celebrated, Delays’ music has not only endured but
their art has been loved and cherished as it has
continually connected with audiences.
To celebrate this soaring and smouldering body of
work, Rough Trade Records are pleased to announce
the release of Delays’ ‘Faded Seaside Glamour’ on
vinyl for the first time ever.
Also available to independent retailers on orange vinyl
with deluxe packaging, a print of Greg’s art and some
words written by Aaron.

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. MERCY, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

John Cale announces MERCY, his first new album of original songs in a decade, out January 20th via Double Six / Domino. For nearly 60 years, or at least since he was a young Welshman who moved to New York and formed The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. There was the bewitching chamber folk of Paris 1919 followed instantly by the gnarled rock of Fear, the provocative and spare song cycle Music for a New Society followed more than 30 years later by mighty and unabashed electronic updates. Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY moves through true dark-night-of-the-soul electronics toward vulnerable love songs and hopeful considerations for the future.

On MERCY, Cale enlists some of music’s most curious young minds: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. They’re only some of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers have passed away, particularly during the last decade. MERCY is the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.



The writings and recordings that shaped MERCY piled up for years, as Cale watched society totter at the brink of dystopia. Trump and Brexit, Covid and climate change, civil rights and right-wing extremism—Cale let the bad news of the day filter into his lines, whether that meant contemplating the sovereignty and legal status of sea ice melting near the poles or the unhinged arming of Americans. Lessons from a life (still being) richly lived floated to the fore, too, nodded to on the previously released “NIGHT CRAWLING.” If we’re always regretting our past, aren’t we conscripting ourselves to permanent disappointment?

During “STORY OF BLOOD,” after the piano prelude gives way to a frame-rattling beat and synthesizers that feel like sunshine splashed across a snowfield, the voices of Cale and Weyes Blood’s Natalie Mering slide past one another, two phantoms trying to find a partner amid the modern din. “Swing your soul,” they both sing in aspiration. In the final verse, Cale remembers this existence is not just about himself. “I’m going back to get them, my friends in the morning. Bring them with me into the light.” The accompanying video by Emmy-winning director Jethro Waters is a mix of disturbing and serene featuring both Cale and Weyes Blood. Its deep tones and religious images emphasize the track’s dark, spiritual mood.

Cale elaborates: “I’d been listening to Weyes Blood’s latest record and remembered Natalie’s puritanical vocals. I thought if I could get her to come and sing with me on the ‘Swing your soul’ section, and a few other harmonies, it would be beautiful. What I got from her was something else! Once I understood the versatility in her voice, it was as if I’d written the song with her in mind all along. Her range and fearless approach to tonality was an unexpected surprise. There’s even a little passage in there where she’s a dead-ringer for Nico.”

One of the rarest and most requested Neapolitan track around. Originally recorded in 1983 at the Rico Sound studios, the budget made available was not managed well by the artistic crew (money wasted on women, dinners and night clubs …) and it was not enough to be able to produce an LP on vinyl and only very few copies were produced on cassette. Occasionally some promotional vinyl copies appeared in flea markets, probably intended for radio stations of the time but to date neither the label nor the author remember ever having distributed or authorized this press. There are also counterfeit copies circulating through private-to-private sales channels. It was not easy to track down Tonino, namesake of his uncle Antonio Balsamo, master flautist of great fame, and it’s with great pleasure that we can finally announce, almost 40 years after its creation, the official release of "Sta Guagliona Mo Ddà" enriched by the instrumental version plus an unpublished variation on the original theme - "Voglie 'E Mare" - written by keyboardist Enzo Anoldo in the early 90s.

BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the
debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an
elusive beast in the field of J Jazz and balances delicate and refined playing with power and
vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and
recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko
Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves.
On drums is Donald Bailey, the noted American drummer most known for playing on classic
Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years
from the late 70s and recorded several album dates with local artists such including Keiko
Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album,
which may account for the small sales and low profile of the album at the time. The
propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajimsan when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3.
The reissue’s liner notes features an exclusive interview with Masao Nakajima himself,
discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is
dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost
and unreleased material presented in the highest quality reproductions of the original
releases, fully licensed and authorised.

Reissue of Amédée Ô Suriam's banger 'Hot Shot' in editted form, comes with two very dope remixes by 'Manoo'.. Sourced from the master tapes and properly remastered!

Amédée Ô Suriam was one of those flamboyant souls touched by grace. Percussionist, author, composer, singer, stylist, sculptor, the Martiniquan put his divine inspiration at the service of a hybrid and visionary creation. His sudden death in 1992, while in his thirties, left behind him "Tension Hot-Shot", his only solo release from 1989. A resolutely avant-garde track, whose fusion of traditional African and Caribbean music with the beginnings of the house movement in Europe is underlined by the subtitle "Afro House" on the A side of the EP, a term that was barely used until then. It is this mysteriously precursory track that Chineurs de House has found, remastered and reissued today, finally shedding light on the fascinating work of an artist who had fallen into oblivion.

Vocals (Tension Hot-Shot) : M.C. Kann, Amédée Ô Suriam & Marie-José FA
Chorus-Keyboard (Tension Hot-Shot) : Luther Pérau
Chorus (Tension Hot-Shot) : Prosper St-Aimé, Rémi Laposte
Synth-Bass (Tension Hot-Shot) : Fred Montabord
Saxophone (Tension Hot-Shot) : Pietro Lacirignola
Structure (Tension Hot-Shot) : Allan Dee, J.C. Broche

Mastering : Perception Mastering
Remix (Tension Hot-Shot) : Manoo
Remix (Laissez Yo) : Jonquera
Remix (Roulé) : Manoo

Written & Composed by Amédée O Suriam

Recto picture : Rail Production
Verso picture : Bruno Resdedant
Graphic Design : Patrick Richard re-arranged by Clara Carpentier
Stylists : Joseph Zim & Amadéus

Special Thanks
Joëlle Suriam, Baptiste Heiles, Gildas Lointier, Aurélien Lévêque

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Before Mahjun (of which Souffle Continu reissued, in 2016, the two albums released on Saravah), there was... Maajun. Five musicians (Jean-Pierre Arnoux, Cyril and Jean-Louis Lefebvre, Alain Roux and Roger Scaglia) and three times as many instruments at the service of an electric-poetic guerrilla group moulded from folk and blues. The group’s unique album, “Vivre la Mort du Vieux Monde” evokes an (imaginary) association of Frank Zappa and Jacques Higelin, of Sonny Sharrock and the Art Ensemble Of Chicago. Under these conditions, Long Live Death!

“The most French of all the French groups, determined to take Maurice Chevalier’s place in American hearts.” This was how Rock&Folk presented Mahjun in 1977. So be it. But when “Vivre la Mort du Vieux Monde”, was issued, it was 1971, and the name, though the same group, was still spelled Maajun. So, let’s look back at the story.

At the end of the sixties, five blues fans decided to form a French group ready to break down the barriers: Jean-Pierre Arnoux (drums, vibraphone, saxophone), Cyril Lefebvre (guitar, organ), Jean-Louis Lefebvre (bass, violin, guitar, vocals), Alain Roux (saxophone, flute, harmonica, vocals) and Roger Scaglia (guitar, vocals). This was Maajun, and Vivre la mort du vieux monde would be their only album, but which would (nevertheless) be followed by those of Mahjun created later by Lefebvre (Jean-Louis) and Arnoux.

Recorded for the Vogue label, “Vivre la Mort du Vieux Monde” would disturb a number of people. This is mostly due to the lyrics, many of which were written by Gérald Escot-Bocanegra, who, while summoning the spirit of Lautréamont and Rimbaud, turned the Maajun musicians on to rock and free jazz. Add a bit of politics into the mix, and the release of the album was delayed for several months. But then, wasn’t it worth waiting for?

Because “Vivre la Mort du Vieux Monde”, a real concept-album, is an important and iconoclastic statement made directly in the face of (francophone) dreamers of all countries. Over heavy guitar riffs, psychedelic interludes or fantasy-fuelled digressions, Maajun built mazes on the advice of alchemists known only to themselves before heading off on a long march on the “cracking walls”. It was an ambitious project, but Maajun could handle it, going so far as to proclaim: “Tomorrow will be a huge party!” But as we can see “tomorrow”, is now!

Clear Vinyl

Erased Tapes are immensely proud to announce the reissue of the debut album Recording a Tape the Colour of the Light by Bell Orchestre. To honour the album"s original recordings the album is also seeing its first vinyl repress since it was released in 2005. Originally formed in 1999 whilst studying at university, the first music Bell Orchestre made was live scores for contemporary dance performances. A few years later, the studio sessions for Recording A Tape.. took place simultaneously in the same studio as when Arcade Fire were recording their eponymous debut album Funeral. The two Montreal-based bands took turns to record their albums but due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as band members Parry and Sarah Neufeld quickly became occupied with Arcade Fire"s busy touring schedule. "The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn"t have anyone to pay attention to it" Parry told Pitchfork in 2005. The album was released to critical acclaim and has since received cult status among fans. Bell Orchestre is a collaborative instrumental group based in Montreal. Its six members come from wildly divergent musical backgrounds, and the unlikely chemistry that results from their collaboration is the very thing that sustains their connection. It"s as if the group as a whole has tapped into a very particular, very distinct energy: like that of an approaching storm. In many ways, Bell Orchestre is the sum of not only its parts, but the sum of its influences and inspirations. Among those influences can be listed such diverse artists as Lee "Scratch" Perry, Arvo Pärt, Charles Mingus, and Talk Talk. But ultimately they work together to create something that none of them has quite heard before. Bell Orchestre has been known to retreat into the woods to make and write music: from a residency at the Banff Centre for the Arts, to the forests of Quebec and Vermont, and back to their hometown of Montreal. The specifics of time and place, the elemental forces at work outside, and those forces that exist inside, all come into play within Bell Orchestre"s musical process. This particular music could be made by no one else at no other time in history. The experience of listening to Bell Orchestre, whether live or recorded, is almost that of experiencing a form of synaesthesia: the result is a collage-like construction of not just sound, but visual elements as well. From a herd of elephants to that approaching storm on the horizon, from a quiet forest in the country to ice forming on a city street, from watching vapour trails disappear in the sky to watching the changing light of dusk through a window. The result then is not so much cinematic as it is evocative: Bell Orchestre have not just written the music to the film - they have created an invisible film that only comes to life in the listening

Black Vinyl

Erased Tapes are immensely proud to announce the reissue of the debut album Recording a Tape the Colour of the Light by Bell Orchestre. To honour the album"s original recordings the album is also seeing its first vinyl repress since it was released in 2005. Originally formed in 1999 whilst studying at university, the first music Bell Orchestre made was live scores for contemporary dance performances. A few years later, the studio sessions for Recording A Tape.. took place simultaneously in the same studio as when Arcade Fire were recording their eponymous debut album Funeral. The two Montreal-based bands took turns to record their albums but due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as band members Parry and Sarah Neufeld quickly became occupied with Arcade Fire"s busy touring schedule. "The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn"t have anyone to pay attention to it" Parry told Pitchfork in 2005. The album was released to critical acclaim and has since received cult status among fans. Bell Orchestre is a collaborative instrumental group based in Montreal. Its six members come from wildly divergent musical backgrounds, and the unlikely chemistry that results from their collaboration is the very thing that sustains their connection. It"s as if the group as a whole has tapped into a very particular, very distinct energy: like that of an approaching storm. In many ways, Bell Orchestre is the sum of not only its parts, but the sum of its influences and inspirations. Among those influences can be listed such diverse artists as Lee "Scratch" Perry, Arvo Pärt, Charles Mingus, and Talk Talk. But ultimately they work together to create something that none of them has quite heard before. Bell Orchestre has been known to retreat into the woods to make and write music: from a residency at the Banff Centre for the Arts, to the forests of Quebec and Vermont, and back to their hometown of Montreal. The specifics of time and place, the elemental forces at work outside, and those forces that exist inside, all come into play within Bell Orchestre"s musical process. This particular music could be made by no one else at no other time in history. The experience of listening to Bell Orchestre, whether live or recorded, is almost that of experiencing a form of synaesthesia: the result is a collage-like construction of not just sound, but visual elements as well. From a herd of elephants to that approaching storm on the horizon, from a quiet forest in the country to ice forming on a city street, from watching vapour trails disappear in the sky to watching the changing light of dusk through a window. The result then is not so much cinematic as it is evocative: Bell Orchestre have not just written the music to the film - they have created an invisible film that only comes to life in the listening

‘Fuxsake, what a great ride this album is... …Somewhere John Lee Hooker is smiling and stampin' his foot to 'Runnin' Till I'm Done'! Love the 12 string riffing so much - You just don't hear that enough these days - Brings to mind Stevie Ray on killing it on acoustic. Ledfoot on the Goodfoot got some serious mojo'. - Winter Lazerus, mastering master This record was recorded and mixed in two days - live - straight to tape… no edits, no punching in…just me… honest for better or worse – honesty - What a precious thing ‘ - Ledfoot - In short: 10 tracks recorded analogue live to tape during two magic days at Studio Studio Nyhagen. No bullshit, just a unique artist spitting out his soul in the most naked and real setting possible. Gothic blues! Still, the sound, the lyrics and the performance are very much a product of today. Ledfoot aka Tim Scott McConnell is a 12-string guitarist who plays with fitted heavy strings,
a brass slide, steel fingerpicks and a stompbox. He has been touring and releasing music since the late 1970’s and written for artists as varied as Highasakite and TnT to Sheena Easton. In 2014, Bruce Springsteen recorded ‘High Hopes’ as the title track of his album, written by Tim Scott McConnell for the Havalinas debut album in 1990. It debuted as #1 in over 10 countries including the U.S. and the U.K.

'What if Blitz hailed from Los Angeles and sang in Spanish’ isn’t a question you hear all that often. Fortunately, we don’t need to ask - the answer is provided by Generacion Suicida’s latest album, which rages and rattles in all the right places, drenched in the memorable brilliance that powered the Killed By Death compilations (ask yer dad - and if he doesn’t know or care, burn his terrible records and make some space to track down the KBD LPs). The band’s slogan is ‘musica del barrio, para el barrio’ - music from the neighbourhood, for the neighbourhood - but it sounds like they could use these hooks to take on the world. That’s a pretty accurate sentiment as well, because this album was written during the Covid-19 lockdown of 2020, while the world bubbled over with carefully managed misinformation, police violence and the sickening overspill of white supremacy’s foul brew. If Regeneracion sounds potent, it’s because there was a lot to be angry about, and the result is arguably their best album yet. Those chorused-out guitar lines carry shades of deathrock, hints of Manchester circa 1980, elements of something you might call goth if it was several degrees less furious. But there’s no doomed romance to this music; it’s an all-out attack. Street punk with the smarts turned up and an ear turned to the lessons learned from post-punk (but crucially, not the ‘post-punk revival’ that is essentially shirtless beardy lads chanting non-sequiturs over landfill indie). Chiefly, it’ll make you wanna get out of your chair, unite your local community and march on down towards your government’s centre of operations with a simple-to-use molotov cocktail kit. Its rage is infectious. It’s inspired by bleak moments in our recent shared history, but it revels in humans’ capacity to find strength in each other. And the tunes? Oh damn, they’re good.' Will Fitzpatrick.

Although the members were good friends and musical allies for years
beforehand, Wizzerd was officially formed in October 2014
Forged from countless hours of jamming in a northwestern Montana basement
was a sound that Wizzerd could latch onto as their own. They soon penned and
recorded their first album, Doomchild', and since then have been challenging
themselves to grow in every way possible while remaining independently
managed and produced. Since the release of Doomchild', they have written
mounds of material and released some of it in the form of their self titled LP on
Cursed Tongue Records, and has recently signed to the mighty Fuzzorama
Records to put out the third in this musical trilogy: Space?: Issue No.001 that will
please your eardrums like nothing else. However, perhaps the way the band has
grown most is on the road. Four years of extensive touring of the US and breaking
ground in Europe has led the band to bring their sound to the ears of many people
far and wide. All of this time in the van and on the stage was followed by lots of
studio time has led up to THIS album!. With new music and more touring in the
near future, Wizzerd has a bright road ahead that is not to be missed!

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

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

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

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

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

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

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

Triathalon's new album Spin is cavernous, warm to the touch — aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
The New York based trio recorded Spin live, with mixing by Gabe Wax
(Adrianne Lenker, Fleet Foxes) and mastering by Zeroh (Pink Siifu,
Eyedress)
It was written, produced and recorded by the band themselves. The album is an
inherently transformative record — the product of years of work, both on the self
and as a collective, a band. Spin is cavernous, warm to the touch, aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
Triathalon will hit the road on a month- long North American tour at the end of
August with stops in 27 cities including Los Angeles, Brooklyn, Chicago,
Philadelphia and more.
Forming in Savannah, the band—which began as the solo project of Adam Intrator
before Chad Chilton and Hunter Jayne joined in 2011—relocated to New York City
after performing together for nearly a decade in Georgia. Their new music is a
snapshot of Triathalon's evolution and growth — tracing a journey of sonic selfreflection, of being lost in your thoughts and watching the world around you
change.
"brooding, romantic, lush — and deeply sensual" Billboard

Triathalon's new album Spin is cavernous, warm to the touch — aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
The New York based trio recorded Spin live, with mixing by Gabe Wax
(Adrianne Lenker, Fleet Foxes) and mastering by Zeroh (Pink Siifu,
Eyedress)
It was written, produced and recorded by the band themselves. The album is an
inherently transformative record — the product of years of work, both on the self
and as a collective, a band. Spin is cavernous, warm to the touch, aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
Triathalon will hit the road on a month- long North American tour at the end of
August with stops in 27 cities including Los Angeles, Brooklyn, Chicago,
Philadelphia and more.
Forming in Savannah, the band—which began as the solo project of Adam Intrator
before Chad Chilton and Hunter Jayne joined in 2011—relocated to New York City
after performing together for nearly a decade in Georgia. Their new music is a
snapshot of Triathalon's evolution and growth — tracing a journey of sonic selfreflection, of being lost in your thoughts and watching the world around you
change.
"brooding, romantic, lush — and deeply sensual" Billboard

7" Black Vinyl in Fold-out Concertina Sleeve, 500 copies only. An anachronism in current times where individualism reigns supreme, Teeth Machine are a rare band knitted together through close camaraderie: a collective in the truest sense of the word, whose intricate, improvisational style resolutely resists being reduced to one single contributor. Teeth Machine found its beginnings in the close friendship and musical collaborations of Arthur Bently (saxophonist/lead guitarist) and Gray Rimmer (lead vocals/guitar). Having played together in various other projects since the age of 17 and disaffected with the music industry, the pair’s first furtive experimentations with the music that would later become Teeth Machine took place at a deliberate distance from the Outside world. This early incubation period, and the music made through endless bedroom sessions and demos recorded on laptops and tapes, became the spine of the project, fostering a sound that still retains both a precious intimacy and a large, expansive sonic scope. The band’s lineup as it stands today features long term friends and collaborators Anthony Boatright (Bass), Jamie Staples (Drums), and Ciara Reddy (Vocals/Synth). On their first self-assured, recorded offering to the wider world, Teeth Machine still bear the imprint of their origins, the band’s sound firmly grounded in the ethos of mutually weighted contribution, as well as the closeness cultivated in their early experiences, always retaining an air of uninhibited creativity and adolescent intimacy. ‘Gumball’, their first release on RaRaRok (Wulu, The Goa Express) was self-produced, mixed by Dilip Harris (King Krule, Mount Kimbie). It’s a song that conveys the tension and impossibility of communication and language, even when attempting to connect with those closest to us. Despite this, and however much the track itself bristles with an unmistakable air of friction, the listener gets the strong sense that there has not been a love lost, but rather one renegotiated, even expanded. Speaking about ‘Gumball’, Teeth Machine said: “‘Gumball’ is about the impossibility of talking. It was written during quite a chaotic period, and the lyrics came about after we had a big argument in the kitchen while trying to record a demo at the time - it tracks the madness and intensity of trying to make sense to someone you care about, or to yourself in your head. There’s a kind of antagonistic self help mantra that resonates throughout; it’s about internal and external conflict. It’s angry, but it’s also full of love too