Search:jon e

Recorded spontaneously in a single afternoon, the album captures an unguarded musical conversation between two of the most compelling voices of their generation. Born in Brixton and now based in Harlem, Ruben Fox has emerged as a major presence on the international jazz scene, renowned for the depth of his sound, the emotional clarity of his ballad playing, and a voice rooted in tradition while speaking firmly in the present. His work follows collaborations with artists including Wynton Marsalis, Barry Harris, Roy Hargrove, Jon Batiste, and George Coleman, and builds on the critical acclaim of his 2021 debut Introducing Ruben Fox.

Micah Thomas is one of the most celebrated pianists of his generation, praised for a style that is both restlessly inventive and deeply grounded in the history of the music. A Jerome L. Greene Fellow and Juilliard alumnus, Thomas has worked extensively with Immanuel Wilkins, Joshua Redman, Ambrose Akinmusire, and Billy Drummond, and has been recognised by DownBeat, Jazz Magazine, and The New York City Jazz Record as a defining contemporary voice. Fox and Thomas first developed their musical relationship while studying at Juilliard, where they regularly played duo sets. In Two Minds was recorded on a whim at Chris Pattishall's apartment in Washington Heights, with no rehearsal, no edits, and no agenda beyond mutual respect, listening, and shared musical values. Over three hours, the pair simply showed up and played.

The result is an intimate, conversational record that foregrounds generosity, empathy, and deep musical listening. Sparse, direct, and emotionally rich, In Two Minds offers a rare document of two artists meeting in real time, balancing history, intellect, warmth, and spontaneity.

2026 Repress

Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik, Kraak & Smaak, Jitwam, and Turbotito & Ragz.

Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985 Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering Bollywood electro and leftfield 80s original soundtrack recordings.

Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’, the label now offers up the first of two full-length releases based around her music. Cosmic disco pioneer, Studio 54 icon and jazz improviser Asha Puthli has recorded, sung or shared the stage with the likes of Roy Ayers, Alice Coltrane, Grace Jones, Barry White, Andy Warhol and many more. From David Mancuso's The Loft, to Giorgio Moroder's early work with Donna Summer, to hip-hop where she has been sampled extensively, Asha's musical influence and impact is profound. She was the first artist of South Asian descent to successfully crossover and make a mark on dance, jazz and pop culture in the West.

For this LP, Naya Beat tracked down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.
Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and cruising chords next to another sensuous top line from Asha Puthli.

Limited Green LP is for Indies only. all LPs include a DL card. Island Family is the fifth album from Isle-of-Eigg dwelling electro-acoustic psych-pop wonder Pictish Trail, AKA Johnny Lynch. A strange, unpredictable, sardonic and yet deeply personal record inspired by all from Fever Ray to The Flaming Lips, Liars, Mercury Rev and Beck, Island Family is Pictish Trail's contrarian view of arcadia; a search for the euphoric in the bucolic, bound up in sometimes conflicting ideas and feelings around nature and environment, sincerity and artifice, escapism and belonging. It's an album about how no man can remain an island, however hard he might try. Released by Fire Records, with support from Johnny's own label Lost Map, and produced by long-term collaborator Rob Jones (The Voluntary Butler Scheme, The Gene Dudley Group), 'Island Family' opens with its title track, a song of death, ghosts and the ties that bind, fusing abrasive electronic beats with a tongue-in-cheek fireside folk refrain and the haunted ice cream van melody of a digitally reincarnated traditional Scottish jig. A purgative surrender to nature's whim driven by a clattering machine drumbeat rolled in a puddle of filthy dirty fuzz, 'Natural Successor' is five-and-a-half-minutes of cathartic churning bass. 'In The Land of The Dead' is an eight-bit glitch-core reflection on island party excesses spasming into existential dread and regret, suitably accompanied by a funereal mariachi band. It's followed by the epic 'It Came Back', the understated verses and arms-aloft falsetto chorus of which are accompanied by a tense, foreboding bass-driven electro hip hop instrumental with (spoiler) a brain-shattering industrial-metal meltdown. 'Melody Something' is the album's purest moment, a cautiously uplifting solar-powered-ballad about losing track of time in the cycle of the seasons, and the gap between memory and reality. Shapeshifting closer 'Remote Control' is a channel hopping cabin-fever-dream flipping from warped boyband ballad to deep-fried fuzz pop. "One of my favourite artists" Lauren Laverne, BBC 6 Music

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

A mutant beat manifesto from Miami luminaries Jonathan Trujillo (Jonny from Space) and Pablo Arrangoiz (El Gusano, DJ Fitness, Baüzer Vep), Crespi Drum Syndicate’s Colada Talk follows the duo’s debut on Sonido Isla with a freshly freaked collection of percussive oddities. Rooted in foundational clave rhythms and avant-garde experimentation, Crespi Drum Syndicate emerges from the amphibious underbelly of Miami’s Latin-infused club scene with their singular electro-acoustic vision.

Extensive live recording sessions, free improvisation, and a ritualistic studio practice

— countless hours spent twisting and rearranging sounds from found objects and Buchla modular systems — coalesce into new rhythmic forms. Atonal saxophone, bass clarinet, and slide whistle further expand upon Trujillo and Arrangoiz’s ever-evolving sonic palette, while NYC’s AceMo lends a hand on the heavily syncopated “Siu,” and closer “Boubow” might be the duo’s most hook-driven production to date with its mangled pop vocal and lewd drum-line bounce.

Landing somewhere between Steve Reich’s polyrhythmic “Six Marimbas,” Moebius & Plank’s industrial Krautrock sessions, and Ricardo Villalobos’ hypnotic techno minimalism, Colada Talk delivers on a world of subtropical rhythmic futurism and experimental body music that’s as heady as it is culo-shaking.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

On Days Like These , is a respectful and soulful interpretation of Quincy Jones ' masterpiece, while Warren original, Jenny, concerns a hope for assistance from Rod Serling and H.G. Wells, in a time-travel romance. Michael Warren's voice is joined by the creative team from Mariocki, Keiron Phelan (Peace Signs, State River Widening) Flute / Guitar, James Stringer (Peace Signs, Hilbert Space) Piano / Keyboards, with indie luminaries Ian Button (Papernut Cambridge, ex- Death In Vegas) Drums / Percussion, and Giles Barrett (The New Starts, Moebius Delta ) Bass.

Ohne Frage zählen Kerrigan zu den vielversprechendsten deutschen Newcomern im Bereich des traditionellen Heavy Metal. Im Jahre 2019 in Freiburg von Bruno Schotten (Gitarre, Bass) und Jonas Weber (Gitarre, Gesang) gegründet, spielte man ein Jahr später ein Demo mit den eigenen Stücken „Intruders“, „Force And Will“ und „Heavy Metal 2020“ sowie eine Coverversion von „Rest In Peace“ des NWOBHM-Geheimtipps Wolf ein. Als »Heavy Metal 2020« wurden die Aufnahmen über Fucking Kill Records als Tape und Vinyl veröffentlicht (später noch einmal von High Roller Records). Für ihr Debütalbum »Bloodmoon« (2023) holte man sich als Session-Schlagzeuger den befreundeten Jonathan Döring ins Line-up (der mittlerweile neben dem neu hinzugestoßenen Jakob am Bass zur festen Besetzung gehört). Die Scheibe erhielt in der Fachpresse nahezu überall außergewöhnlich gute Reaktionen. Jetzt, drei Jahre später, ist es Zeit für mehr… Als kleinen Vorgeschmack auf das neue Album hat sich die Band dazu entschieden, eine limitierte 7“-Single zu veröffentlichen. Die A-Seite „The Ice Witch“ ist eine der eingängigsten Nummern des Albums während die exklusive B-Seite „You Just Haven’t Earned It Yet Baby“, eine atemberaubende Coverversion der britischen Indie-Band The Smiths um den charismatischen Sänger Morrissey, den ikonischen 80s Sound mit melodischem Heavy Metal verschmelzt.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

Clear Vinyl in limitierter Auflage von 1500 Stück. Die renommierte US-niederländische Gospel-Soul-Künstlerin Michelle David & The True-tones läuten mit ihrem neuen Album ,Soul Woman", das am 27. Februar 2026 bei Record Kicks erscheint, ein neues Kapitel ein. Aufbauend auf dem von Kritikern gefeierten Album ,Brothers & Sisters" aus dem Jahr 2024, das die Komplexität der Welt widerspiegelte, wendet sich die neue LP ,Soul Woman" nach innen - eine zutiefst persönliche Auseinandersetzung mit Identität, Heilung und spiritueller Widerstandsfähigkeit. ,Wie kann ich andere bitten, sich Zeit zu nehmen, um über ihr Leben nachzudenken, wenn ich das selbst nicht tue?", fragt Michelle David. Dieser Geist der Selbstreflexion und Erneuerung steht im Mittelpunkt von ,Soul Woman" - einem Album, das Verletzlichkeit zulässt und gleichzeitig Stärke ausstrahlt. Musikalisch verfeinert ,Soul Woman" die charakteristische Mischung der Band aus Gospel, Soul und Vintage-Rhythm & Blues und schöpft dabei aus einer breiteren Palette von Einflüssen. Anklänge an Curtis Mayfield, Bobby Womack und The Four Seasons pulsieren durch die Grooves, während das Gospel-Feuer der Blind Boys of Alabama und die fröhliche Ausstrahlung von Diana Ross & The Supremes dem Album sowohl Schwere als auch Glanz verleihen. Im Mittelpunkt steht Michelle Davids unverwechselbare Stimme - rau, warm und voller Entschlossenheit -, umhüllt von reichhaltigen, analog geprägten Arrangements ihrer langjährigen Mitstreiter Paul Willemsen (Gitarre, Bassgitarre), Onno Smit (Gitarre, Bassgitarre) und Bas Bouma (Schlagzeug). Gemeinsam stehen Michelle David & The True-tones an der Spitze der Retro-Soul-Szene - sie verbinden zeitlose Grooves mit moderner Dringlichkeit, unerschütterlicher Authentizität und herzlicher Leidenschaft. Eine Stimme, geboren in der Kirche, geschliffen auf der Straße. Michelle David wurde in New York geboren und wuchs in der Kirche auf. Mit nur vier Jahren begann sie zu singen und trat mit fünf Jahren ihrer ersten Gruppe, The Mission of Love, bei. Ihre kraftvolle Stimme führte sie um die ganze Welt, wo sie in gefeierten Broadway-Produktionen wie Mama, The Sound of Motown, Glory of Gospel und Mahalia mitwirkte und mit Legenden wie Diana Ross und Michael Bolton Aufnahmen machte - alles bevor sie ihre gefeierte Reise mit The True-tones begann. Gemeinsam haben Michelle David & The True-tones sieben von der Kritik gefeierte Alben veröffentlicht und die Bühnen Europas erobert, von Pinkpop über North Sea Jazz bis hin zum London Jazz Festival. Die Band ist bekannt für ihre mitreißenden Live-Auftritte, hat von Spanien bis Skandinavien Standing Ovations erhalten, ist in großen Fernseh- und Radiosendungen aufgetreten und hat sogar bei den Olympischen Winterspielen 2022 gespielt. Ihre Aufnahmen wurden ebenso gelobt: The Gospel Sessions wurde für einen Edison Award (das niederländische Pendant zum Grammy) nominiert, während Truth & Soul aus dem Jahr 2020 von Craig Charles' BBC Radio 6 Music zum Album des Jahres und von FIP (Radio France) zum Album des Monats gekürt wurde. Ihr jüngstes Album, Brothers & Sisters (2024), markierte ihr Debüt bei Record Kicks und wurde zu einem Durchbruch - gefeiert von Rolling Stone France, KEXP, Jazzthing Magazine (Deutschland), De Volkskrant (Niederlande) und BBC 6 Music. Ein Zeugnis der zeitlosen Kraft des Soul: Mit ,Soul Woman" bieten Michelle David & The True-tones mehr als nur eine neue Platte - es ist ein musikalisches Zeugnis der Widerstandsfähigkeit, eine Feier des spirituellen Wachstums und eine Bekräftigung der Fähigkeit der Soulmusik, zu heilen, zu verbinden und zu inspirieren. Gleichzeitig in klassischen Traditionen verwurzelt und neue Wege beschreitend, ist dies zeitgenössischer Soul vom Feinsten. Für Fans von Durand Jones & The Indications, Thee Sacred Souls, Jalen Ngonda, Sharon Jones & The Dap-Kings, Lee Fields, Mavis Staples.

The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.

World Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”

Recorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.

Paradise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young & Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.

Seven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon & Naomi.

When interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale

Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.

Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.

Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.