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Norwegian musician and novelist Jenny Hval
announces her new album, ‘Classic Objects’.
 ‘Classic Objects’ is a map of places; past places,
like the old empty Melbourne pubs Hval’s band
used to play in, public places Hval missed
throughout lockdown, imagined, future places, and
impossible places where dreams, hallucinations,
death and art can take you. It is interested in
combining heavenly things and plain things.
 ‘Classic Objects’ is Hval’s version of a pop album.
Every song has a verse and a chorus. There are
interchangeable moments of complexity,
interesting melodies throughout, and a feeling of
elevation and clarity in the choruses. Heba Kadry
mixed it to sound as though it’s played through “a
stereo in a mysterious room.”
 Since 2019’s ‘The Practice of Love’, Hval
published the English translation of her third novel,
‘Girls Against God’, and released an album under
the name Lost Girls.
 Hval will play London’s EartH venue on 11th April,
2022.

Patsy Cline meets Lana Del Ray with King Khan in the passenger seat. Debut full-length from Simich is timeless and sparse country tinged folk pop Produced by the ever evolving King Khan.

Highway Butterfly: The Songs of Neal Casal is a 5LP vinyl boxset
celebrating the prolific body of work Casal left behind over the course of
14 studio albums
Recording sessions for the project began in February 2020 led by co-producers
Dave Schools of Widespread Panic and seven time Grammy- Award winning
recording engineer/ producer Jim Scott at PLYRZ Studios in Valencia, CA.Over
forty artists appear on the tribute including Susan Tedeschi and Derek Trucks,
Jonathan Wilson, Phil Lesh and The Terrapin Family Band, Steve Earle, Warren
Haynes, Jaime Wyatt, and Shooter Jennings among numerous others. The first
single and video from the recording was captured during the initial sessions in
February 2020. It features Billy Strings with Circles Around the Sun performing
"All The Luck In The World.

‘Flicker’ is the second album from Ride guitarist and songwriter Andy Bell. Written almost as a conversation with his teenage self, it follows the triumphant solo debut that was 2020’s ‘The View From Halfway Down’. This 18-track double album finds Andy moving towards classic songwriting, notably on the reflective lead single ‘Something Like Love’, the strident harmonies of ‘World of Echo’, the joyous refracted loops of ‘Jenny Holzer B. Goode’ and the fuzz-laden late-’60s balladeering of ‘Love Is The Frequency’. Stylistically, the four sides of ‘Flicker’ take in everything from modern psychedelia to fingerpicked folk, whimsical baroque pop, and Byrdsian 12-string beauty. It’s a breathtaking array and makes it even more abundantly clear that Andy has entered a purple patch in his songwriting, hitting a new velocity in contrast to his initial inhibitions about becoming a solo artist. He gradually overcame these after the passing of David Bowie in 2016, with the Thin White Duke’s bountiful 50 years of music providing inspiration from beyond the grave. ‘Flicker’ is also an apt description for the genesis of the album. At the start of 2021, Andy returned to the stems of the recording sessions he made at Beady Eye and Oasis bandmate Gem Archer’s North London studio and added fuel to the fire, writing melodies and lyrics and turning them into fully formed songs. The same sessions were also the starting point for ‘The View From Halfway Down’ and this album picks up where that one left off, quite literally, with the very first words being “I was halfway down…”. This is the first of several playful, possibly intentional, references to albums and song titles that litter the record like a musical breadcrumb trail. As much as this is a modern sounding and forward-looking record, it’s also very much about looking back, something that is clear from the first glimpse of the front cover – a previously unseen outtake from Joe Dilworth’s photo sessions for the inner sleeve of Ride’s debut album, ‘Nowhere’. “When I think about ‘Flicker’, I see it as closure,” explains Andy. “Most literally, on a half-finished project from over six years ago, but also on a much bigger timescale. Some of these songs date back to the ’90s and the cognitive dissonance of writing brand new lyrics over songs that are 20-plus years old makes it feel like it is, almost literally, me exchanging ideas with my younger self.” This conversation takes place across ‘Flicker’’s 18 tracks. Essentially it advises us to stop worrying about the future and enjoy each day as it comes, embracing the crushing, unpredictable lows of life as much as the almighty highs of being in love. Some of it remains unspoken, taking place sonically rather than verbally: the album has a reflective, meditative feeling throughout, exploring many aspects of mental health, and the beautiful stillness of first single ‘Something Like Love’ could almost be a musical salve to the heartache 19-year-old Andy poured into ‘Vapour Trail’ in 1990. “The ‘Flicker’ I’m talking about in the lyrics is that flame that makes a person who they are,” explains Andy. “I wanted to find that in myself, so I went back to the teenage me – a technique I learned in therapy and have been doing ever since – and got some advice on how to live and be happy in the 2020s.“‘The View From Halfway Down’ was about turning 50 in a very weird time of introspection. ‘Flicker’ is about gathering the tools to equip myself mentally for life in 2022 and beyond – post-pandemic, post-Brexit, post-truth.”

Jonas Lindberg & The Other Side is the progressive rock project from Stockholm, Sweden-based bass player, songwriter and producer Jonas Lindberg. The new album - called "MILES FROM NOWHERE" – features Jonas joined by Jonas Sundqvist, Jenny Storm and Jonathan Lunderg. Returning on a few tracks is Simon Wilhelmsson (drums) who some may remember from their first EP, as well as Jonas's brother Joel and Roine Stolt (The Flower Kings, Transatlantic) on lead guitars,amongst others. “MILES FROM NOWHERE” is a journey that takes in stunning guitar solos, intense drums, folky melodies, majestic instrumentals & a 25-minute epic. Available as Limited CD Digipak, Gatefold 180g 2LP+CD+LP-Booklet & as Digital Album.

Splash Blue is proud to present a brand new album borne from the latest collaboration between Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito – ‘The New Guitar Underground Vol 1’.

THE NEW GUITAR UNDERGROUND
The New Guitar Underground are Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito. Neither require introduction – Bluey – founder of the legendary Incognito, Inner Shade, CitrusSun and co-conspirator on the STR4TA project, solo artist, Composer and Record Producer & Francisco Sales, guitarist of Incognito and Citrus Sun, as well as being a solo artist in his own right, have come together to deliver a set of 10 highly crafted and accomplished tracks that lift the spirits and soothe the soul.
Inspired by the inspirational playing of the giants of the guitar world – Tony Mottola, Denis Budimir, George Benson, Bill Jennings & Melvin "Wah Wah" Watson to name but a few, the album reflects the deep love that Bluey and Francisco have for this multi faceted and beautiful instrument.
Guests on this album include bass players Francis Hylton, Hendrik Linder, Rui Pedro Pity and Julian Crampton, keyboardists Matt Cooper, James Berkeley and drummer Francisco Mendolia.
Of course the quality and depth of this musical composition should not be a surprise – given the pedigree of the artists involved, however, as Bluey says himself in the album notes, ‘’This is not a project seeking chart success. Just two guitar buddies having fun chasing musical waterfalls, and not sticking to the rivers and the lakes they’re used to.
We are just making ourselves happy. And if in doing so we make you happy too, then that, as they say, is "the payoff!" The result is an intoxicating fusion of guitars, samba, latin jazz, drum-driven beats, heavy bass lines - with some scratching and sampling thrown in for good measure!

A few years back I had this dream: I was walking through vast grasslands
towards a solitary hill
On top of the hill was a movie house. On the marquee: History of Jazz.I kept
thinking about it. What was in the movie house? What happened before? What
followed? Why was I going there? Why "History of Jazz"? To reach some kind of
insight, I began a film script, extending the dream tenfold. The script morphed
into a novella-sized book, a series of songs, and finally, a "mind-movie" podcast,
forming this labyrinthine, multi- medium story – equal parts dream, film and
waking life. Figuring out how to transcend the traditional parameters of the album
to create a more panoramic story- vision is something I've been unconsciously
trying to do for some time. I've been pushing against the edges – toying with
narrative, characters and visuals with Easterween and Niagara, a weird children's
book Daydreams for Night – but the scope of life behind Rialto felt too
irrepressible and expansive to be boxed in an album. The book and podcast have
kicked open the doors – allowing the album to lead or serve where it should.In
Rialto's extended narrative, Klaus (loner, insomniac) is working a stint as a driver
for a small town writer's festival. Following a series of unsettling paranormal
events, he finds himself agreeing to a strange request - to deliver a film reel in
time for its premiere at a secluded movie house - the Rialto. The journey leads
him through a circuit of strangely located, oracular movie houses, screening a mix
of dreams, fantasies, memories and prophecies - numinous films of personal
revelation. Inhabiting the movie houses are underworld characters and spirits
with ambiguous motivations, some helping and some hindering Klaus's quest. It's
a Dantesque, deep cleanse pilgrimage to untangle bitterness and trauma,
rediscover a lost clairvoyance, ancestry, and ultimately, the medicinal source of
eternal youth. A metaphysical noir. A hyperstition.Rialto's album stars seven
singer-artists playing characters alongside mine: Tamara Lindeman (The Weather
Station), Daniel Knox, Thom Gill (Owen Pallet, Beverly Glenn- Copeland), Ryan
Driver (Jennifer Castle), Felicity Williams (Bahamas), Robin Dann (Bernice) and
Martin Tielli (Rheostatics). All Toronto- based like me except Daniel (Chicago).
Performed by the Venuti String Quartet with arrangements by Andrew Downing.
Produced by Jean Martin (Tanya Tagaq). It's my 13th album and fourth on Tin
Angel - previous releases on Tin Angel: Miracle In The Night (2019), Small Town
Water Tower (2016), and Niagara (2014). Each of Rialto's eight podcast episodes
features a chapter from the book performed by a cast of twenty five - made up
almost entirely of musicians – including the speaking voices of the
aforementioned singers, as well as Meg Remy (U.S. Girls), Claudia Dey, Veda Hille,
Devon Sproule, Luka Kuplowsky and others. Rialto is available as a 101-page eBook (illustrations by David Ouimet) on Sud de Valeur Press. Premiere
performances begin fourth quarter 2021. Happy Rialto listening, reading,
watching, dreaming...

Produced by Jonathan Wilson (Dawes, Father John Misty, Conor Oberst), Erin Rae's highly anticipated new album Lighten Up is a timeless amalgam of classic pop, cosmic country and indie rock, recorded earlier this year in California’s Topanga Canyon. Three years have passed since the release of her critically acclaimed debut Putting On Airs, which drew high praise from publications from Rolling Stone to NPR Music. She mostly spent her time on the road, performing at Newport Folk and Red Rocks, sharing stages with Iron & Wine, Jason Isbell, Jenny Lewis, Hiss Golden Messenger and Father John Misty, before her touring came to a sharp halt at the start of the pandemic. The solitude of the road and then the pandemic created space for Rae to undergo a sonic and philosophical shift where she found personal catharsis in creating an album that reflected on her newfound lessons of self acceptance, alongside finding the confidence to offer social commentary on the environment, gender identity and equality. “My last record was a lot of self-assessment and criticism, and trying to kick old habits and ways of relating and not relating to people,” Rae acknowledges. “This one is about blossoming, opening up, and living a little more in the present moment. Fully experiencing what it is to be human.” With a renewed sense of agency, Rae also took a more active role in creating the kaleidoscopic soundscape that became Lighten Up, setting out to reflect a sound she calls, “an emotional pallet, I could get lost in.” Alongside Erin and Jonathan Wilson, who contributed various instruments, the album also features guest appearances from fellow rising star singer songwriters, Meg Duffy, Ny Oh, and Kevin Morby.

Norwegian duo Lost Girls, artist and writer Jenny Hval and multi-instrumentalist Håvard Volden, release their first album after collaborating for more than ten years. Volden has been playing regularly in Hval's live band for more than a decade, and their duo project goes back to an acoustic collaborative album from 2012, using the moniker Nude on Sand. Instead of resurrecting the previous band, Hval and Volden opted for a fresh start for their 2018 EP Feeling, taking nomenclatural inspiration from the 2006 graphic novel by writer Alan Moore and comics artist Melinda Gebbie.

For their first LP, Hval and Volden booked an actual studio (Øra studios, Trondheim, Norway), which they had never done before. Recording sessions took place in March 2020, even if they felt like the material wasn’t really ready for recording. This left a lot to improvisation, and so Menneskekollektivet was created in-between set structures and the energy of collective exploration.

Perhaps this is what makes Menneskekollektivet unique: The quality of trying something, to see if the structures fit. In a way this is a more physical version of what Hval has been exploring lyrically over the past decade in her solo work. The title is Norwegian and translates to human collective, which adds to the feeling of a recording made as part of a strange, improvised performance project.

The music flickers; between club beats and improvised guitar textures; between spoken word and melodic vocal textures; between abstract and harmonic synth lines. Throughout the piece, Volden’s guitar and Hval’s voice come across as equals, wandering, wondering, meandering. Sharing the space.

Newly remastered audio.
LP pressed on black vinyl & housed in a gatefold jacket.

Willie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.
Backed by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.
Originally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.

Remastered 15 year Anniversary edition of Jenny
Lewis’s first solo album from 2006. The album
comes with all-new gatefold packaging featuring
never-before-seen photos by Autumn de Wilde.
 Known and loved by many as the frontwoman of
Rilo Kiley, Jenny’s vocal and songwriting gifts have
continued to blossom at a rapid rate since that
band’s first album in 2000. This may be her solo
debut but there’s nothing virginal about it.
 The album was lovingly crafted together during
short spurts of recording activity in the San
Fernando valley, Portland, Oregon and Lincoln,
Nebraska - due to the shared production duties of
celebrated finger-picking guitar prodigy M. Ward
and Nebraska’s resident production genius Mike
Mogis.
 The magnificent backing vocals come courtesy of
gospel singers Chandra and Leigh Watson (the
Watson Twins). Talented friends were roped in
between tours and recording sessions and standout track a cover of the Travelling Wilbury’s ‘handle
with care’ - with its phenomenal sing-a-long
crescendo features vocals shared equally by
Jenny, M. Ward, Conor Oberst and Ben Gibbard.

A swiss army knife of an album, Zander Hulme's Windbound shifts effortlessly between beautiful, sweeping piano melodies, energetic calls to adventure, and the occasional throat singing for good measure.

Featuring watercolor inspired jacket and inner sleeve artwork by Jennifer A. Reuter, this release is a whirlwind of color packed into a single square foot. Presented in two variants, "Seashore" Blue Marble and "Cloudy Skies" White in Clear Marble.

"Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

As current lead vocalist and co-songwriter of the hugely successful modern progressive metal band HAKEN, ROSS JENNINGS needs no introduction in some circles, having released 1 ep, 1 Live album and 6 full length studio albums of consistently high quality with the band, HAKEN have been climbing that mountain with grace and gusto, albeit on the fringe of mainstream rock and metal. In 2019 HAKEN won ‘Best UK Artist’ at the annual PROG awards, with their latest release ‘Virus’ reaching #2 in the UK rock charts and entering the US Billboard Hot 100 at #52.

On the back of this release ROSS JENNINGS set out to write, record and self-produce his debut solo effort ‘A SHADOW OF MY FUTURE SELF’ with an ambition to become a new household name and keep mainstream classic rock alive and well.

Brand new music from Warpaint's jennylee (Jenny Lee Lindburg). Newtopia is the first release of a series of singles, culminating in full album to come on RSD 2022.

Feeling is at the core of jennylee’s music. Having spent the past decade defining the grove that allows Warpaint the luxury to drift between genres and eras, jennylee’s solo record proved more loose, open, and driven by the rhythm of the heart.

Critically acclaimed LA quartet Warpaint have been confounding expectation since the band’s inception in 2004. Releasing their third album ‘Heads Up’ to rave reviews in 2016, Warpaint remain on top of their game; cementing themselves as one of the bands of a generation.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

In most any Dungeons & Dragons adventure worth
completing, the hero must come face-to-face with
themselves in some form - a cursed, mystical mirror that
reveals all that our hero is and is not; a reflection in some
Blood River that displays for our hero the monster they
have become; a doppelganger that reveals how much our
hero has changed since the beginning of the adventure.
 So, as their year-long 25th Anniversary campaign enters
its final chapter, Jagjaguwar must also confront their
former self. They’re going all the way back to the
basement of the sushi joint in Charlottesville; all the way
back to when they were just a haphazardly made zine; all
the way back to the original mantra which served at
Jagjaguwar’s early guiding force. The Sentimental Noise
echoing through the caverns of self-discovery is tender
and deafening.
 The label have uncovered new and unreleased work from
some of their earliest friends like Drunk, Manishevitz and
Bevel. They’ve called upon necromancers like Norway’s
Jenny Hval, Jagjaguwar legends Wilderness and
Bloomington post-rock heroes Tammar. Mysterious noise
mongers like Canada’s Wold and Oslo’s Some Nerve have
delivered on their promise to absolutely split skulls open.
There are two loving tributes to Patron Saint of Jagjaguwar
John Prine. And they have unearthed two songs from
Atsushi Miura, who once upon a time allowed founder
Darius Van Arman to book shows in the basement of the
sushi restaurant he ran. He dedicates one song to Darius
and in the other, humorously lambasts the college town he
called home for all those years. Today Jagjaguwar dies;
tomorrow Jagjaguwar is reborn.
 Double LP on metallic silver vinyl.

"Brand new music from Warpaint's jennylee (Jenny Lee Lindburg). Newtopia is the first release of a series of singles, culminating in full album to come on RSD 2022.
Feeling is at the core of jennylee’s music. Having spent the past decade defining the grove that allows Warpaint the luxury to drift between genres and eras, jennylee’s solo record proved more loose, open, and driven by the rhythm of the heart. Critically acclaimed LA quartet Warpaint have been confounding expectation since the band’s inception in 2004. Releasing their third album ‘Heads Up’ to rave reviews in 2016, Warpaint remain on top of their game; cementing themselves as one of the bands of a generation."

Whether it be on the banks of the Mississippi River or deep in the heart of the English countryside, rock 'n' roll lives, breathes, and burns on the outskirts. Hailing from Rome, GA, at the foothills of the Appalachian Mountains, The Georgia Thunderbolts rise up with a scorching signature style steeped in soulful southern swagger. On, Can We Get A Witness, their full-length debut for Mascot Records, the quintet—TJ Lyle vocals, harp, piano, Riley Couzzourt [guitar], Logan Tolbert [guitar], Zach Everett [bass, keys], and Bristol Perry [drums]—conjure a tried-and-true spirit through a fresh fire.
“We all grew up on rock music,” Riley says. “Rock ‘n’ roll comes back around, but longevity depends on grinding it out. That’s what we want to do. We try to put in the work our favorite bands did. If I could think of three words to describe us, they would be ‘Hardworking, Determined, and Humble’.”




Gigging tirelessly, they cut their teeth by playing with Black Stone Cherry, The Kentucky Headhunters, Blackberry Smoke, Tyler Bryant & The Shakedown, Atlanta Rhythm Section, Molly Hatchet and The Cadillac Three. The band began when Bristol and Riley initially bonded over rock ‘n’ roll in high school. By sophomore year, they had a regular jam schedule, and eventually joined up Zack, TJ, and Logan to round out the group. They share a wide swath of inspirations, ranging from southern gospel to Hank Williams, Jr., Neil Young, Little Feet, Waylon Jennings, Ray Charles, Merle Haggard to the hard rock of Ozzy Osbourne, Audioslave, Bad Company and of course, The Allman Brothers & Lynyrd Skynyrd.
The band recorded at the iconic Barrick Recording Studio in Glasgow, KY, with producer Richard Young. The album comprises of thirteen undeniable anthems, beginning with opener “Take It Slow.” Distilling whisky-soaked riffs, wild harmonica, and pulse-pounding drums into a simmering groove, it struts out of the gate with confidence and charisma. “There’s a message to what we’re doing,” Bristol leaves off. “It’s okay to be yourself. If you’re going through hard times, the music will always be there. We’d love to remind everyone of that.” The Georgia Thunderbolts embody the blue-collar working man who has put their foot down on the accelerator towards the rock ‘n roll American dream.

Repress!

With Robyn, South London's cktrl shares his most ambitious work yet, collaborating with the likes of Duval Timothy, Coby Sey (Micachu, Tirzah, Dean Blunt) and Purple Ferdinand to create a vital exploration of contemporary-classical from the black perspective; out via Errol and Alex Rita's Touching Bass. Spurred on by the overpowering feelings of heartbreak, Robyn impressively creates emotive and heartfelt clarinet and saxophone-led soundscapes about the all-consuming power of love. On the project, cktrl says: "'Robyn' at its core is heartbreak and is just really sentimental. It's a journey of losing a love but it ends with optimism as you find strength to love again." Born and bred in Lewisham, cktrl aka Bradley Miller is an integral part of London's pioneering musical underground. One of the only remaining original DJs on NTS, cktrl has previously worked with and played alongside the likes of Sampha, Sango, Kelela and Dean Blunt. Throughout his career to date, cktrl has also been recognised and heralded by fashion and film VIPs including Virgil Abloh, Bianca Saunders, Tremaine Emory, Nicholas Daley and Jenn Nkiru who recently secured him a cameo in Beyonce's heralded 'Black Is King'. With a shared ethos of elevating and amplifying leftfield black music, he partners with London based label, Touching Bass, themselves a key cog within the city's bubbling musical underbelly.

Repress!

With Robyn, South London's cktrl shares his most ambitious work yet, collaborating with the likes of Duval Timothy, Coby Sey (Micachu, Tirzah, Dean Blunt) and Purple Ferdinand to create a vital exploration of contemporary-classical from the black perspective; out via Errol and Alex Rita's Touching Bass. Spurred on by the overpowering feelings of heartbreak, Robyn impressively creates emotive and heartfelt clarinet and saxophone-led soundscapes about the all-consuming power of love. On the project, cktrl says: "'Robyn' at its core is heartbreak and is just really sentimental. It's a journey of losing a love but it ends with optimism as you find strength to love again." Born and bred in Lewisham, cktrl aka Bradley Miller is an integral part of London's pioneering musical underground. One of the only remaining original DJs on NTS, cktrl has previously worked with and played alongside the likes of Sampha, Sango, Kelela and Dean Blunt. Throughout his career to date, cktrl has also been recognised and heralded by fashion and film VIPs including Virgil Abloh, Bianca Saunders, Tremaine Emory, Nicholas Daley and Jenn Nkiru who recently secured him a cameo in Beyonce's heralded 'Black Is King'. With a shared ethos of elevating and amplifying leftfield black music, he partners with London based label, Touching Bass, themselves a key cog within the city's bubbling musical underbelly.

Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

When Orquesta Akokán burst onto the global music scene a mere three years ago, their no-holds-barred 21st century take on the venerable Cuban mambo lit up stages around the world with a fierce and unremitting joy. Singer José "Pepito" Gómez, Chulo Records producer and multi instrumentalist Jacob Plasse, and arranger Michael Eckroth joined forces with a carefully curated selection of Havana’s most extraordinary musicians as Orquesta Akokán, polishing Cuban mambo’s golden sound to a luminous, contemporary sheen. Along the way Orquesta Akokán imbued these legendary Cuban grooves with a renewed vitality and powerful sense of akokán ---the Yoruba word used by Cubans to mean “from the heart” or “soul.”



On the Cuban side of the equation the Orquesta boasts some of the island’s greatest instrumentalists culled from members of near-mythical groups such as Los Van Van, NG La Banda, and Irakere (notably César Lopez, Orquesta Akokan’s point man in Havana). The ensemble for 16 Rayos shines a light on Cuba’s musical families and multigenerational legacy with the participation of two fabled Vizcainos on percussion - Roberto "Tato" Vizcaino Jr. and his father Roberto Vizcaino Guillot, a member of Chucho Valdes’ seminal 90’s quartet. Another family duo added their masterful legacy to the recording, with trumpeter Reinaldo “Molote” Melián bringing in his son, Reinaldo Melián Zamora, to play trumpet on several tunes alongside lead trumpet Harold Madrigal Frías. The winds and brass are rounded out with a rich saxophone section made up of young lion Jamil Shery and Germán Velazco (musical director for Pablo Milanés)on tenor, with Evaristo Denis on baritone and César López on alto, along with Yoandy Argudin and Heikel Fabián Trimiño on trombone. Coros were sung by Eddie Venegas and Luis Soto. Significantly, Orquesta Akokán added strings to the ensemble for the first time, with the participation of violinists Amelia Febles Díaz, Jenny Peña and Anabel Estévez Acosta, whose virtuosity stems from the classical training for which Cuban musicians are so renowned. The power and grace of Pedro "Tata" Francisco Almeida Barriel’s vocals lead the way on “4 de Octubre” and “Llegue con mi Rumba,” evincing why he is considered one of the Cuban rumba’s premier exponents. Another highly recognized singer, legendary guarachera Xiomara Valdés - who’s shared the stage with legends such as Beny Moré and Omara Portuondo and received the Ministry of Culture’s Distinción por la Cultura Nacional de Cuba as a significant contributor to Cuba’s musical legacy - is the featured guest on the title track.

Founded in 2014 in Berlin by The Oath front woman Johanna Sadonis, the group first consisted of Cathedral, Angel Witch and Ladytron members. The debut album “Lucifer I”, penned by Johanna and Cathedra’s Garry Jennings and released by British label Rise Above Records, brought LUCIFER international recognition. With a shift of constellation within the band in 2016 and Johanna Sadonis’ move from Berlin to Stockholm, LUCIFER were ready for chapter two. In Nicke Andersson, notable for his groups The Hellacopters, Entombed, Imperial State Electric, Death Breath among others, Johanna found a new renowned writing partner. Relentless touring and recording have turned LUCIFER into an explosive live beast and a reliable source of timeless rock and roll.
LUCIFER wasted no time and used the pandemic to record yet another long player that rings in a new chapter and dives even further into the grande realms of colossal old fashioned rock, with a severe morbid twist. For this opus they entered guitarist Linus Björklund’s Studio Ryssviken for an even more heart pounding drum sound while continuing their work at The Honk Palace. They expanded their song writing partnership within the band and Johanna has not only penned the new material with Nicke but also with guitarist Linus, as well as guitarist Martin Nordin contributing. With “Lucifer IV” the group is proving furthermore to be steadily building their very own pillar of rock history, brick by brick. The first single to give you a glimpse of what’s to come is “Wild Hearses” - buckle up for a deliciously morbid sweet and heavy ride past tombs and churches!
“Lucifer IV” is available as Ltd. 180g Gatefold LP + CD (in deluxe hardcover gatefold sleeve), Ltd. CD Digipak and Digital Album

“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”

Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.

The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.

“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”

Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.

The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

Released via Columbia Records in the UK, 'Respect' is a 2021 American biographical musical drama film based on the life of American soulk legend Aretha Franklin. Directed by Liesl Tommy (in her feature directorial debut) from a screenplay written by Tracey Scott Wilson, the film stars Jennifer Hudson as Franklin. Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, and Mary J. Blige are featured in supporting roles. The CD was released in mid August. This is the 21 track double vinyl format with songs featured in the film, including one new original track produced by Will I Am. Continued promo/marketing activity across all media outlets (for both film and soundtrack).

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her song writing and distinctive arrangements fuel Christmas and the Beads of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B. Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas and the Beads of Sweat features two inclusive and distinctive sides of music -- with different musicians and producers for each. The first five tracks feature Nyro backed by the Swampers from Muscle Shoals, AL, and include the talents of Roger Hawkins (drums), Eddie Hinton (guitar), Dave Hood (bass), Barry Becket (vibraphone), and Jack Jennings (percussion), with Arif Mardin producing. While this pairing might seem initially incongruous, the quintet had been concurrently working with the likes of Dusty Springfield and Cher and had gained a rightful reputation as a consummate backup band. The final four pieces are steeped in noir more atypical of her previous efforts. The all-star cast of New York City session heavyweights are led by Felix Cavaliere (producer) and features fellow Rascals member Dino Danelli (drums), Ralph McDonald (percussion), Chuck Rainey (bass), Cornell Dupree (guitar), Duane Allman (guitar), and Alice Coltrane (stringed harp), among others. As with all of Nyro's recordings, at the heart of this effort are her ageless compositions and arrangements. A motif connecting such disparate tunes as the upbeat "When I Was a Freeport and You Were the Main Drag" to the hauntingly beautiful "Christmas in My Soul" and "Beads of Sweat" is the aching hollowness that came with the disillusionment that Vietnam, Kent State, and racial relations brought upon America in 1970. As she had done with "Save the Country" some four years earlier, Nyro's cathartic expressionism is captured at its most fervent on this album.

- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Reissue of one-off 2003 project by Doug Martsch (Built to Spill), featuring Ned Evett, Ian Waters, and John Mullin Includes covers of David Bowie, Captain Beefheart, The Pretenders and more

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

Susanna is now releasing a live album of covers with a unique history. Recorded in Oslo and Asker (Norway) in 2019 and 2020
right before the pandemic hit, Live by Susanna and David Wallumrød is a collaboration by the Norwegian and her cousin David, also a prolific musician, whose seeds were unknowingly sown over 20 years ago.“We played a lot together in our childhood and youth, being cousins, growing up in the same small town Kongsberg,” says Susanna. After being highly active musicians for many years, they decided to do a concert together in 2017, at a tiny cocktail-bar concert series in Oslo. It was so much fun they decided to do some more shows. They did, and out of this came Live. The songs on Live are the same covers Susanna and David played together 20 years ago, with a few new additions. They are instantly recognisable classics by Leonard Cohen, Joni Mitchell, Emmylou Harris and Tom
Waits, played in the way Susanna and David know best - voice and keys. Pure, simple, and stunning. David Wallumrød is one of Norway’s most used piano/keyboard-players, he has participated on over 150 albums and been a regular member in the bands of artists like Knut Reiersrud, Odd Nordstoga, Jonas Alaska, Band of Gold and Torun Eriksen. He has his own band called Spirit in the Dark. Susanna is the woman behind Susanna and the Magical Orchestra, a creator of bold, original and enrapturing music, capable of
building worlds to lose yourself in and collaborator with artists such as Jenny Hval and Bonnie ‘Prince’ Billy. Alongside this Susanna has also long been an interpreter of other people’s works, from AC/DC to Dolly Parton, Joy Division to Henry Purcell. Susanna has an ability to transform these works into music that sits comfortably next to her own work while never losing what made the original - and the original composer of the song - so special.