This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.
The second single from the Nicole Willis album Happiness in Every Style opens up the promised spectrum of joy into new ecstatic states. One In A Million is an unapologetic love song, which while connecting to this most traditional mode in soul music, also makes it correct for the dancefloor. Connoisseur terms such as 'crossover' or 'modern soul' might prove to be accurate here, but a membership in the soul scene is not mandatory to get down.
The main thing is that this up-tempo horn-driven groover, propelled by The Soul Investigators (as the usual suspects), should make things move inside, tickling nerves in scenesters as well as the layman, as their breakthrough hit If This Ain't Love did back in the day.
The world and the music business is different for Nicole Willis and the boys from up north. Nevertheless, One In A Million might be the underground hit that nobody saw coming. Or it just as well might not, but this is no excuse for not making quality music. This and more can be anticipated from the new album, dropping on Timmion Records in autumn 2015.
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Fabric resident Anna Wall and production partner Corbi link up again for the first time since their debut EP 'DATs In The Attic' dropped on Ritual Poison in 2019. Between then, Anna has gone on to release music on her own label Dream Theory and turned in a gorgeous deep cut for music platform 22 tracks' final send off before closing. Corbi has been no stranger to production either, heading up important label Fina records and releasing stand-out EPs on Rough Recordings & Kouncil Cuts.
The pairing bring their newfound knowledge to LTWHT, shape shifting between colorful displays of breakbeat and melodic perfume. Ahead of the release, Anna & Corbi spoke of their love of digging into the past, delving into old techno and rave records and inspired by artists like LFO. While the influences are apparent their sound remains unique, contemporary and flourishing with personality.
Title track 'Persistence' opens with choppy breakbeats and deep subs, adding extra depth and weight; providing the perfect base for the record's shimmering synth lines. 'Consciousness' then conjures wide-eyed atmospherics, joining hands with a soothing, deep bassline and diamond shaped arpeggio. 'I'm just changing consciousness' is gently spoken as the track ebbs and flows across the oceans moon-lit surface.
Subtly euphoric and inherently introspective, B side opener 'Take A Moment' shows a developing side to the pair's growing sonic palette. Early trance meets breakbeat, in an emotive display of otherworldly electronics and primordial whispers. The tracks bassline and lead add an extra layer of playfulness, turning the track from a cerebral workout to a blissful dance around an open flame. The record comes to a close with 'Regardless' an acid inspired dream that unfolds amongst a backdrop of clouded pads and intoxicating patterns.
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After releasing on Atomnation's Unfold Vol. 2 last year, Berlin-based Italian NOCUI returns with more rich and uplifting grooves on his new 12” “Entrain”.
Leonardo Di Fiore (NOCUI's real name) is a Rome-born composer and a classically trained pianist who brings a performative approach to how he makes music. An early love of jazz also permeates his work and he now considers himself a "studio and sound design obsessive." That shows in the meticulously crafted, always fresh music he makes on his go-to drum machine, the Jomox Alpha Base. NOCUI is also adept at speaking through other key bits of gear such as the Roland SH101, Acidlab 303, DSI Prophet 6, and Haken Continuum Fingerboard - machines that lend his music its signature sound and have taken him to labels like Traum and Wildfire.
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Die mehrfach mit Platin ausgezeichnete Rockband SEETHER veröffentlicht die Deluxe Version ihres achten Studioalbums ”Si Vis Pacem, Para Bellum”, übersetzt ”If You Want Peace, Prepare For War”, eine Mischung aus Euphorie und Elend, zweifellos die wohl stärksten Songs in SEETHERs illustrer Karriere.
”Si Vis Pacem, Para Bellum” wurde von ihrem Sänger Shaun Morgan produziert und von Matt Hyde (Deftones, AFI) in Nashville abgemischt. Das neueste Mitglied der Band, Corey Lowery (Ex-Gitarrist/Sänger
von Saint Ansonia und Stuck Mojo), ein langjähriger Freund von Morgan, ist auf dem Album zu hören.
”Corey has a lot of experience and is an inspiring guitarist as well; he’s the older brother I’ve always wanted”, fügte Morgan hinzu. SEETHER besteht aus dem Bassisten und Gründungsmitglied Dale Stewart und dem Schlagzeuger John Humphrey.
Das Push-Pull-Gefühl auf ”Si Vis Pacem, Para Bellum” ist ebenso dynamisch wie einprägsam, da Morgan die intime Sensibilität eines Singer-Songwriters in schwere Rockgrooves der Band einbringt. Mit Einflüssen wie der dunklen und rohen Ehrlichkeit von Grunges epischer Gitarrenattacke und dem südafrikanischen Underground-Punk und Metal, ist SEETHER’s klangliches Gebräu unverwechselbar und zeitlos.
Jerone is a highly-skilled singer and entertainer who has been entertaining the audience by putting smiles on faces, warming people’s hearts, igniting song in the soul, and inspiring people to get up and move! His background in music takes him deep from Texas to the Hollywood music industry and back again.
Along the journey, he has developed skills in event management, event planning, singing, television, music production, theatre production, songwriting, recording, festivals, interpersonal skills, acting, and voice-overs.
Leicester born Kevin Hewick is still considered a truly representative force of the post-punk counterculture. His first ‘proper’ gig was on a bill with Joy Division, A Certain Ratio and Section 25. He released a couple of records on Factory in the early 80's, then moving to Cherry Red in 1982. His collaboration with The Sound stands truly as his own masterwork. Recorded and mixed at Elephant Studios, Wapping, London on November 3rd, 4th & 5th 1983, this EP still is a refreshing example of their combined effort. The four tracks move along a sort of outsider folkish post-punk, being perhaps his most accessible work ever.
After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.
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Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music
scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a
singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since
his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad
of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki.
Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London",
2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide
support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown,
Glastonbury).
Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his
long-standing roots in the London music scene, have sometimes been precarious.
A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written
with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced
by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice)
which are dear to Jally's heart as a Gambian native and West African musician settled in Europe.
A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only
what we become, no matter where we come from and who we inherit from.
"Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow
artists and musicians from the West African diaspora working in Europe.
Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly"
tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way
of life".
Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a
cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.
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While Sass Jordan is celebrated as a multi-platinum selling premiere rock
singer, her 2020 album, Rebel Moon Blues, demonstrated that she sings
the blues with as much power and authenticity as she personified in the
rock world
Following up on the rave reviews garnered by Rebel Moon Blues, Sass continues
to mine her talent as a blues singer with 8 new tracks on Bitches Blues, on Stony
Plain Records.Reflecting on the impact the past two years has had on us all, Sass
has recorded songs that examine the visceral emotional territory of a pandemic,
and the multiple conflicts that the world is reeling from in the aftermath. "Still
Alive and Well' is Sass's triumphant take on a Rick Derringer song that leads off
the album. Her original song, "Still The World Goes Round" marks the mid-point
with a look at power structures, both within and without, while another new
creation" Change Is Coming" ends the collection with a trance- like chant that
offers an uplifting perspective.
As we have come to expect from Sass, the album features fierce guitar licks,
driving tempo's, the raw and soulful Sass Jordan rasp, and a glorious assortment
of rambling road dogs, known as the Champagne Hookers. This particular
collection of Hookers includes longtime associates and rebel rouser guitarists
Chris Caddell and Jimmy Reid, drummer Cass Pereira, keyboardist Jesse O'Brien
and the magnificent Mr. Steve Marriner on bass and harmonica.
Netherlands tour in June 2022.
Graeme Martin and Liam Karima made the new pet deaths album to be
both explored and sat with
In age of dull disconnection and constant refreshing, unhappy ending, the London
duo's second full- length effort, was deliberately and acutely considered to be a
journey of its own; nine new songs but one whole immersive piece for the listener
to climb inside, in the quiet of reflection, in the sobering commute to and
from.Following on from the sparkling celestial folk of the band's 2019 debut To
the Top of the Hill, unhappy ending is the next step in pet deaths' somewhat
remarkable journey. Setting out to make their new album, the band had one
question in the forefront of their collective mind: Is life an unhappy ending, or do
we become part of a bigger movement to more positive things?
Across the album's nine tracks, this conundrum is explored in many and
meaningful ways, their subtle take on melancholic folk- pop conjuring a
bewitching atmosphere that hangs over every inch of the album. unhappy ending
thrives within the world it creates for itself, one of distinctive colours and shapes
that feel intimate and familiar but always slightly off- kilter, as if you've
momentarily stepped into someone else's dream. It sings of love and loss and the
unwieldy connection between those two things, in ways that feel quietly radiant
and beguiling, caught in an alluring contrast. Recorded at a residential studio in
Oxfordshire which they used as a retreat from the business of London – fleshedout and toyed with over time with their acclaimed producer Ian Davenport
(Slowdive, Gaz Coombes, Radiohead's Philip Selway) who encouraged the duo to
lean into the wilder parts of their creativity. Inspired, musically, by the spiritual
moments of Alice Coltrane, the freeness of Miles' 'Bitches Brew', with a sprinkling
of Talk Talk's 'Spirit Of Eden' in its colourful unravelling, unhappy ending is an
enveloping experience, touching upon universal themes but all shone through the
lens of Karima's signature perspective.
Tour in May & June in support of the release - dates in Newcastle, London, Bristol,
Manchester & Sheffield.
Pet Deaths previously supported the likes of Elbow and Arab Strap.
Support from So Young Magazine, Chris Hawkins (BBC 6 Music), DIY Mag, Clash,
Huw Stephens (BBC Radio 1)
In a pre-Rock world, no female vocal group came within touching distance of the
Andrews Sisters in terms of success. Between 1938 and 1951 they notched 90
Top 30 hits in the USA and appeared on countless other best-selling singles by
artists such as Bing Crosby, Dick Haymes, Danny Kaye, Ernest Tubb, Carmen
Miranda and Burl Ives. The Andrews Sisters were the most plagiarised of all
female singing groups and influenced many artists, including Mel Tormé, Les Paul
and Mary Ford, The Four Freshmen, The Pointer Sisters and Barry Manilow. It’s
time to celebrate the works of this wonderful trio and enjoy their incredible tones
and harmonies so grab yourself a Rum & Cola and get down with some Boogie
Woogie!
Grammy award-winning blues icon returns to his Delta blues roots for the
most captivating musical statement of his long and legendary career
Charlie's first new solo studio release in seven years is stripped-down and semiacoustic, driven by his deft guitar playing, while also featuring the masterful harp
and soul-deep vocals for which he is famed.
'Mississippi Son' is front porch country blues that is at turns raucous and languid,
haunting and impossibly soulful. The track listing includes Musselwhite originals
and songs by Charley Patton, Yank Rachell and Big Joe Williams. This warm,
intimate recording is loaded with feeling and exhilarating, timeless music.
Essential listening for any blues fan.
Blues Matters feature interview plus review confirmed
ADVERTISING: Blues Matters, Blues In Britain, Blues & Rhythm
Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”
Dallas-born Roger Kynard Erickson, better known as Roky Erickson, is a legend of psychedelic music and culture. Playing piano at five years old and guitar at ten, he dropped out of high school in Austin shortly before graduating, since the school dress code demanded short hair. In 1965, his group, The Spades, made an impact with “We Sell Soul” and the following year, The 13 th Floor Elevators burst onto the scene with debut album The Psychedelic Sounds of the 13 th Floor Elevators, but the band’s non-conformist attitude and open endorsement of drugs such as marijuana and LSD put them in repeated conflict with the authorities. Then, in 1968, during a performance at the San Antonio edition of the World’s Fair, known as HemisFare, Erickson began speaking incomprehensible nonsense on stage, leading to a diagnosis of paranoid schizophrenia and confinement in a Houston psychiatric hospital, where he was forcibly given electroshock therapy. The following year, after being busted with a single joint, Erickson pleaded not guilty by means of insanity, leading to a 3-year stay in Rusk State Hospital, with further electroshock and Thorazine treatments. Following his release Erickson formed a group initially called Bleib Alien, which evidenced a more hard-rock orientation, later renamed The Aliens, though Erickson was also working with Austin’s The Explosives in the same era. Aliens material produced by Stu Cook of Creedence Clearwater Rival was issued by CBS and an independent, 415 Records. Then, in the early 1980s, Erickson became fixated with junk mail and unsolicited letters, writing to lawyers and celebrity figures on a regular basis; in 1985, solo mini-LP Clear Night For Love was produced at Music Tracks in Austin by bassist/guitarist Speedy Sparks, with former Joe “King” Carrasco and Delbert McClinton drummer, Ernie Durawa, plus Supernatural Family Band alumnus John Reed on guitar. Released by France’s New Rose label in small numbers, the release found Erickson back in semi-psychedelic/country rock mode on opening track “You Don’t Love Me Yet,” the plaintive “Starry Eyes” and the anthem-like title track, while “The Haunt” is more in swamp/horror rock vein and “Don’t Slander Me” has heavy blues leanings.
Playing in Dixieland jazz bands during his teens and then passing through some Kansas City jazz acts, New York-born alto saxophonist Steve Lacy became associated with the avant-garde jazz movement from the mid-1950s, playing on free jazz pianist Cecil Taylor’s influential debut LP and early work by the Canadian pianist Gil Evans, before serving a long tenure with the idiosyncratic improv pianist Theolonius Monk, whose work he would continue to reference throughout his career. Visiting Europe from the md-1960s, starting with a trip to Copenhagen with pianist Kenny Drew (who made the Danish city his home thereafter), Lacy later travelled to Italy to form a quartet with Italian trumpeter Enrico Rava (who had earlier played in Argentinian sax player, Gato Barbieri’s group), plus South African exiles and former Blue Notes members Johnny Dyani on double bass and Louis Moholo on drums. Lacy subsequently moved to Paris, which became his permanent base from 1970, leading a sextet there whilst also exploring the limits of the alto saxophone as a solo instrument. The disparate and often discordant album Threads was recorded in Rome at Mama Dog studio in 1977 for filmmaker-turned-record producer Aldo Sinesio’s Horo Records label; comprised of six of Lacy’s own compositions, the album saw Lacy supported by Alvin Curran on piano and Frederic Rzewski on flugelhorn, synthesizer and percussion, the pair both longstanding members of the experimental group, Musica Elettronica Viva.GO
Percussionist Frank Ricotti played in the National Youth Orchestra and was rated the UK’s top vibraphonist during the late 1960s. In 1971, with guitarist Mike de Albuquerque, he cut the multifaceted jazz album, First Wind, which alternated between experimental rock-
influenced jazz and thoughtful adaptations of work by James Taylor, John Sebastian and Melanie Safka, with some surprising blues diversions too, such as Albuquerque’s “Go Out And Get It.” However, Albuquerque soon joined ELO as a bassist, putting an end to the duo.
亂 (luan) is the latest release from LA based producer/DJ Mix Match Emperor who weaves powerful soundscapes with an amalgamation of field recordings, obscure samples and original music compositions that combine to form a cohesive work of sound art that stays true to its name, translated to “Chaos”.
The combination of jazz samples and lo-fi mixing techniques create a cocktail that in parts resembles vaporwave whilst regularly pulling away from any genre formulation with sharp cuts into noise and then back through electronic rhythms reminiscent of Autechre.
Although listeners can often be tempted to pick out their favourite tracks, this record is definitely designed to be listened to in its entirety, as it takes you on a journey through varying phases that nod to both Steve Reich & the late Sam Mehran simultaneously.
The album is the leadoff release under the Strictly Frisky label with a limited cassette run available here for the first time.
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Cult synth-pop album from 1984 repressed for the very first time. One of the most obscure Synth / Italo recordings from Germany with the Danny “Skorpio” Antonelli’s haunting vocals. Includes the obscure deep “Black Mercedes” and the hit “Long Hard Climb”. Limited edition.
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Making their return with further innovative output this Spring is Bucharest based outfit, VARME, a label curated and cared for by, Paul Popa. Crafting the seventh release on the label is the incredibly talented beat maker, Maximo. The Uruguayan’s “XKP” EP meanders through low end leaning electro, and intelligently arranged spaced out techno, rough and ready for the club.
Title track “XKP” moves in mechanical motions, chugging by as trippy beeps and bleeps make themselves known. Futuristic elements breathing life into the chunky drums. The A2 “Trip To the Moon” teeters on the fine line of techno, and trance, sitting comfortably between the two, blasting you with dusty nostalgia from records of the past but maintaining the modern twist Maximo consistently captures.
On the flipside delving deeper into the mind of Maximo is “1945” is a sleek and crisp trip, a punchy kick and ice cold hi-hats drive the groove. The vocal sample used fits perfectly, transcending the listener as it continues to flash in and out. Closing 007 is “Sinrazón” a curious journey through shimmering pads and synths, teasing you down a path of mystery with the dark bassline that simmers throughout.
Solid impressions from a label that continue to propel their distinguished energy, showing no signs of slowing down, continuing to become somewhat of a diggers paradise with their catalogue. VARME are not afraid to push music they believe in, never taking the restraints of genre on their shoulders. Whilst not making music Maximo is helping steer the ship at Deeper, a collective who share their musical vision in their native country of Uruguay.
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In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps To Heaven," "Joshua" and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home."
A fantastic-sounding album. Mastered by Ryan K. Smith at Sterling Sound, and pressed on 180-gram vinyl by the best in the business, Quality Record Pressings. An old-style tip-on jacket by Stoughton Printing makes this one a jewel for your LP collection.
Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum.
The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs.
In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own.
Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).
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Sixteen arrives to the label straight from Detroit, by the owner of Vigilante Cartel - Dave P who is also known as Dirty Dave or Dirty Dave P, who has been releasing records since the early 90’s. This Electro & House infused 12’’ is made by the man together with his friend Rick Tuner and consists of 4 track journeys starting from the space and heading way beyond any known stratospheres known to mankind.
This record is very dear to these artists and to all the people who took part into making this project come to life. All aboard the “Saturn V” as it’s taking off into the wilderness of clubs & institutes of electronic music all over the world. The weather seems bright and the sky is clear, which makes it absolutely perfect conditions for the launch.
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Oslo-based American-Norwegian trio Buster Sledge releases their first
studio album Call Home in May 2022, following up on their self-recorded
and self-released debut Spirit (2020)
Fiddle, banjo, guitar and three voices are the vehicle for lyrical storytelling against
an orchestral background anchored in the acoustic music traditions of the United
States. Hailing from northern California, lead vocalist and songwriter Michael
Barrett Donovan mixes themes from personal experience with folk and country
music archetypes to breathe new life into time-tested song structures. Banjoist
Mikael Jonassen and guitarist Jakob Folke Ossum both share a thorough
appreciation for the fundamentals of bluegrass music, clear melodies and
harmony- singing through the lens of being trained jazz musicians. In eleven
tracks, Call Home tips its hat to artists such as Norman Blake, The Punch
Brothers, Tim O'Brien and John Hartford. Buster Sledge was the first group to
record in the recently relocated Globus Studio of Sjur Lyseid (Little Hands of
Asphalt) and his influence from behind the mixing board pushed the band into a
slightly-augmented acoustic sound with more streamlined arrangements which is
a suiting duet with the album art by William Hay that realizes a scene of a rider
overlooking a large river-valley in impressionistic swaths of color.
Banjoist Mikael Jonassen, from Bodo in the far north, is Norway's first and only
higher-education certified banjo player. Despite beginning with an electric banjo
and playing exclusively fusion jazz, Jonassen currently focuses his efforts on
Scrugg's style acoustic banjo and the playing of Bela Fleck and has taken several
trips to the US to learn from the masters. Jakob Folke Ossum, jazz- guitarist
turned flat- picking aficionado, discovered the sound of acoustic flat- picking
through Tony Rice and Bryan Sutton and meticulously taught himself from
records and videos. Fiddler Michael Barrett Donovan made a living as a musician
in New York City doing a master's in classical composition while touring with a
Grateful Dead tribute band. The three met in a comment section on a bluegrass
forum after Donovan moved to Norway in 2019. The rest of the story you'll have
to ask them at a show sometime. Buster Sledge has been on stage in many small
venues in southern Norway, don't miss them the next time they come to town!
THE DEBUT ALBUM OF COLD & PRIMITIVE OLD-SCHOOL NORWEGIAN
BLACK METAL, BORN FROM THE ASHES OF CULT ACT, TULUS
PRESENTED ON THE VINYL FORMAT FOR THE FIRST TIME.Norwegian black
metal band Khold formed in Oslo in the year 2000, by Gard & Sarke (also known
from his own, self-named act, alongside Darkthrone's Nocturno Culto). Khold is
what emerged out of the ashes of the cult band, Tulus. Khold has recorded 6
albums to date & have successfully toured with bands such as Satyricon &
Behemoth in the past. Khold is also notable for their use of old Norse for songtitles & lyrics. 'Masterpiss Of Pain' was Khold's debut album, released in 2001 on
Moonfog Productions & was recorded at Panser Studios (Arcturus, Chrome
Division, Fleurety) in Oslo.
'Masterpiss Of Pain' also features a guest appearance by Galder (Old Man's Child,
Dimmu Borgir) on the track 'Rovnatt'.
This edition of 'Masterpiss Of Pain' is presented on the vinyl format for the first
time & contains inner sleeve with lyrics.
The complete aural presence that is Oshkosh, Wisonsin's Cavernlight
returns with "As I Cast Ruin Upon the Lens That Reveals My Every Flaw ",
an all-encompassing journey that could very well be one of the best postmetal / sludge releases of the last 5 years
Recorded at Electrical Audio in Chicago and mixed Scott Evans (Kowloon Walled
City, Yautja, East of the Wall) and features the artwork of vocalist / guitarist Scott
Burns.
Beginning life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop ME REX are equipped with multitudes of “surging gargantuan hooks”, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). In 2021 the band released their debut album Megabear: a record built from 52 short tracks intended to be played in shuffle mode in order for the listener to create their own perfect combination of songs. In 2022 they dove headfirst into follow-up EP Pterodactyl which saw them change pace and tact throughout — constructing delicate vocal layers with luscious swathes of guitars and keys to build a bridge between their raw DIY past and a bright, creative future. Across all four songs on new EP, Plesiosaur, ME REX focus their attention on catchy choruses and snappy rhythms. With Toilet of Venus acting as an extension of Lager Door, the former track looks at present struggles as opposed to the latters inherent nostalgia, Jupiter Pluvius looks theologically at the idea of projecting strength and power onto inanimate objects, all wrapped in sharp wordplay and vibrant fuzzed out guitars and keys that are addictive as hell. Described as “nothing short of an artistic triumph” by Brooklyn Vegan— as well as seeing praise from Pitchfork, DIY, Rocksound, Line Of Best Fit, BBC 6Music, Radio X, Amazing Radio, Audiotree, The I Paper and Baby’s Alright— ME REX are showing no signs of slowing down.
Cardiff alternative rock duo James and the Cold Gun are pleased to announce the details of their debut EP False Start, set for release on April 29th 2022 through Gallows' label Venn Records and Seattle-based label Loosegroove Records, owned by Stone Gossard (Pearl Jam) & Regan Hagar (Malfunkshun, Brad, Satchel). False Start is available to digitally pre-order now, with a vinyl release scheduled for the summer: https://orcd.co/falsestartep Speaking of the new partnership between the band and Loosegroove Records, the influential indie label that was founded back in 1994, which has issued records from acts such as Critters Buggin, Malfunkshun, Weapon of Choice and Devilhead, and was the launching point for Queens of the Stone Age’s debut album in 1998, Stone Gossard said: “I heard James and The Cold Gun’s ‘Long Way Home’ on KEXP last year and thought this band fricken rocks! Who are these upstarts?! "This new track, ‘It's Mutual’ takes it to another level. Totally unhinged and letting it all hang out. Loosegroove Records is thrilled to be working with James and the Cold Gun on this new EP with a future full-length coming soon.” On 'It's Mutual', James Joseph said: "It's a song that embodies the feeling that you get when you hit a stalemate in a relationship, that feeling when you're both sat together but neither person is able to speak. We've all had those awkward silent car journeys where there has been an argument or something isn't right but we can't even chat about it. Next time you have an awkward car journey, grab the aux and chuck some Cold Gun on." James Biss adds, "We wrote these songs for False Start in our flat in 2020 during the pandemic and our first time playing them live as a band was to record them. It was pretty mad recording live around our drummer, hearing the songs played loud with real drums for the first time after months of being stuck inside writing them on the computer. Recording with Adrian Bushby was a dream though, he was bopping around the control room and egging us on to play louder and harder, he's technically the first person we ever played in front of." Taken from the EP, lead single 'It's Mutual' is out now: https://orcd.co/itsmutual The band have rapidly been building support from some of rock’s most respected taste-makers, including Kerrang! Magazine, Rock Sound, Punktastic, Dead Press, Running Punks, BBC Introducing Wales, Deezer’s Hot New Rock playlist, Triple J’s Short Fast Loud, Apple Music’s New In Rock, Beez at Mosh Talks on Twitch, Alex Baker at Kerrang! Radio, John Kennedy at Radio X, and Daniel P Carter on the BBC Radio One Rock Show.
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends. A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe. Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985. Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowd-funding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout. Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner. With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.” Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is!
Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.
Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.
The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with “Symphony Masses: Ho Drakon Ho Megas”, “Lepaca Kliffoth” might remain the most memorable masterpiece of the band’s career along the follow-up “Theli”. A transitional phase between the band’s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with “The Wings of the Hydra”, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song’s namesake. The album’s ‘hit single’, “The Beauty in Black” is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging “Riders of Theli”, the crushing doom of “Black” which would have fit almost perfectly on “Into the Pandemonium”. The rest of the album is equally dark and enchanting, with other standouts being the title track and “Evocation of Vovin”. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal band into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.
Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.
Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.
Gene Pitney was a musician’s musician. Having begun his career as a songwriter, he was not content merely being the faceless pen behind his peers’ success, becoming a singing star in his own right. He did this during a time when America’s shores were being invaded by a wave of British talent led by The Rolling Stones and The Beatles. Pitney turned the tables by finding success in the UK and went on to enjoy a 45- year career. 1962 was Pitney’s breakout year in the US. He shot to Number 4 in April with the Burt Bacharach and Hal Davidpenned hit (The Man Who Shot) Liberty Valance, intended as the theme for the John Wayne
flick of the same name. He followed that up with his highest-charting US single, Only Love Can
Break A Heart. It would go on to be covered by numerous artists, Dionne Warwick attempting
her own version in the late Seventies. He left behind a four-decade career that saw him notch
up 16 US Top 40 singles and 22 in the UK. His legacy is also evident in the hits of others, like
Orbison, Bobby Vee and Ricky Nelson. This collection showcases the best of Pitney’s early
work, and gives an insight into one of America’s most gifted musicians, a man who found his
own voice.
A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.
A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.
TRANSMISSION EDITION OF PORCUPINE TREE'S 2008 MINI ALBUM 'NIL
RECURRING'.Following on from the announced reissue series from
Porcupine Tree, issued through their own Snapper Music imprint
Transmission, 2008's mini album 'Nil Recurring' will be made available on
classic black vinyl edition
Originally released on CD in 2008, the mini- album (29 minutes of music) was
written during the 'Fear Of A Blank Planet' sessions, completed over the Summer
of 2007 & is presented as a cohesive, self-contained Porcupine Tree work in its
own right. The title track features Robert Fripp on lead guitar, & the album moves
through the full Porcupine Tree spectrum of atmospheric ambience, melodic
hooks & crushing riffs.
Porcupine Tree are gearing up for the release of their new album in June, marking
another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act & one of the world's most revered live bands, selling out arenas
across the globe & wowing fans with their incredible performances.
This new Transmission reissue of 'Nil Recurring' remains faithful to the original
artwork & has never sounded better.
"post- prog pearls of modern intelligent, rock- propelled pop....very tasty indeed"
Classic Rock
MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL
· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries
Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”
· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and
· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics
Transport the Listener to Faraway Horizons
Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.
Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.
Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.
An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.
Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."
Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."
Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog 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.
