Cerca:julian

LOCUS launches VA series ‘LOCUS Trax’, with the first volume welcoming Stephan Bazbaz, Julian Anthony, Sucasa and Ben Jones.

Since launching in summer 2020, FUSE’s sister imprint LOCUS has quickly become a go-to outlet for quality house material from emerging and established talent, welcoming releases from Chris Stussy, Sidney Charles, Lauren Lo
Sung, Rossi. and Casey Spillman amongst many. A new addition for 2022, the imprint now unveils its various artist series LOCUS Trax, with Volume 1 welcoming the return of Tel Aviv’s Stephan Bazbaz, alongside label debuts from
bubbling Dutchman Julian Anthony, London-based pairing Sucasa and Liverpool’s Ben Jones.

Stephan Bazbaz’s ‘Dars’ showcases a lively effort as swinging drums work beneath resonant chords and meandering basslines, while Julian Anthony lays the focus on cosmic pads, vibrant organ bass and shuffling percussion across
‘It’s Showtime’. On the flip, Sucasa dive into deeper spheres with the blissful yet impactful sonics of ‘Time Travel’, before handing over to Ben Jones for the peppy sounds and slinking grooves of ‘Get To Know’.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

Written and performed by Public Body

Recorded at Echo Zoo Studios

Engineered by Christoph Skirl

Mixed by Theo Verney

Mastered by Julian Tardo at Church Road Studios

Artwork by Emil Mniszko

Für Lacrimas Profundere, eine der innovativsten und erfolgreichsten deutschen Dark Metal-Bands der Gegenwart, ging es im Falle des neuen Studioalbums ‚How To Shroud Yourself With Night’ (VÖ. 26. August 2022, Steamhammer/SPV) vor allem um die vermeintliche Bürde ihrer 2019er Erfolgsscheibe ‚Bleeding The Stars‘. Denn deren Bilanz hatte indirekt riesige Erwartungen geweckt: „Album des Monats“ im ‚Metal Hammer‘, ‚Orkus‘ und ‚Dead Rhetoric‘, Top-10-Platzierungen in den anderen wichtigen Magazinen, dazu Charts-Einstieg sowie die bis dato erfolgreichste Headlinertour der Gruppe. Wer würde da nicht automatisch mit einer Fortsetzungsgeschichte liebäugeln? „Für mich ging es darum, sich vom Druck des Erfolges zu befreien und zu versuchen, die Messlatte höher zu hängen, dem Spiel voraus zu sein, sich selbst zu fordern und originell zu bleiben, anstatt auf Nummer-Sicher zu gehen und eine Art ‚Bleeding Part II‘ zu schreiben“, erklärt Gitarrist, Bandgründer und Hauptkomponist
Oliver Nikolas Schmid, der mit seinem Bruder und Texter Christopher Schmid erneut eine unverzichtbare Unterstützung fand. „Die neuen Songs klingen frisch, böse, überraschend und leidenschaftlicher als jemals zuvor. Zudem ist es das zweite Kapitel mit unserem Sänger Julian, der uns inspiriert und sich wundervoll eingebracht hat“, so Schmid weiter. „Wir haben verstanden, was ihm gefällt, und haben uns von alten Denk- und Vorgehensweisen gelöst. Noch nie waren wir eine solch eingeschworene Einheit und bereit, unseren eigenen Sound zu erweitern. Gerade deshalb ist ‚How To Shroud Yourself With Night’ unser mit Abstand mutigstes Werk geworden.“

Jazzrausch Bigband stands for a truly unique concept: jazz meets techno meets big band.

After the powerful, song-like album ‘techné’ from 2021, which featured a cast of prominent musical guests, new release ‘Emergenz’ focuses on the core line-up of the band. And a more subtle, yet broader approach, which incorporates elements of minimal music, drum & bass, literature and stronger jazz influences without giving up the
trademark of the band; pulsating grooves and powerful horn arrangements.

When comparing ‘Emergenz’ with earlier albums, what is most striking is how the band’s expressive palette has become even more differentiated and refined. The moments when the energy levels are
at their highest are still dominated by techno jazz, which is only to be expected, but, in between, the regular four-on-the-floor pulse of the bass drum is increasingly suspended, so there are sections
where the forward momentum comes from intricate interlocked horn parts, or just voices.

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

14 track vinyl version of the 2012 CD compilation. Pressed on pale blue vinyl, with printed lyric inner sleeve. First time on vinyl. Includes poster and postcard.
A swish compilation LP featuring fourteen of the most memorable songs in the career of the top notch indie band THE HIT PARADE.
Entitled ‘PICK OF THE POPS (VOL1)’ the LP collects together the most poignant moments in the career of THE HIT PARADE, and includes their thoughtful recording for Sarah Records “In Gunnersbury Park”, their tubthumping single for Minty Fresh USA “Hitomi” as well as other cuts, both cheerful and desolate in style, that feature CATH CARROLL (Factory Records), AMELIA FLETCHER (Heavenly and Talulah Gosh) and HARVEY WILLIAMS (Another Sunny Day and The Field Mice).
THE HIT PARADE was formed by JULIAN HENRY with his school friends MATT MOFFATT and RAYMOND WATTS in 1984 when they released their first single ‘Forever’ on JSH RECORDS. Since then they’ve clung to the sensibilities of pure pop and have become a curiosity item with their retro attitudes and songs about dead writers, disused swimming pools and failed love affairs.
Their early vinyl singles were lauded by John Peel, the NME and Melody Maker, the now defunct weekly paper that published JULIAN HENRY’S writing. In the 1990s the band toured alongside Edwyn Collins, The Milkshakes and Sarah Records notables, and signed to Japanese and US labels, releasing a sequence of albums that have since become collectible.

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

For his very first solo and vinyl EP, the Parisian DJ and producer NTBR offers three energetic, melodic and banging tracks, the whole embellished by a remix from Julian Muller. This EP is also a milestone for Raise Records, the production of its first vinyl, after five projects released in less than a year and a half. With Raise 001, the label launches a new series of solo EPs in order to showcase
Raise Agency artists.

Mastering duality, NTBRs productions balance between two sides, ravy and melodic, raw and subtle. Recognized and played by several artists and promoters in the biggest festivals, NTBR has already been able to perform in many of the leading venues of the European techno scene such as Griessmuehle, Fold, Rex Club and many others.

Lazy Jones und Hazenberg sind zurück auch wenn sie für 99% der Deutschrap Fans nie da waren. Nach „Unter einem Berg“ (2021) erscheint mit „Über einem Berg“ demnächst das zweite Album des Producer/MC-Duos aus Köln. Für Fans von Retrogott, Twit One und Kapitalismuskritik die swingt. Artwork: Julian Kramer. Limitierte auf 500 Stück. Mit freundlicher Unterstützung von A.U.D.D.A. Records und Melting Pot Music.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Eighties Collected features original hits like Wham! “Wake Me Up Before You Go-Go”, Duran Duran “Hungry Like A Wolf”, A-HA “The Sun Always Shines On TV”, The Cure “In Between Days”, Pat Benatar “Love Is A Batteflield”, Culture Club “The War Song”, Robert Palmer “Pride”, Frankie Goes To Hollywood “Relax”, Simple Minds “Sanctify Yourself”, ABC “When Smokey Sings”, The Human League “(Keep Feeling) Fascination”, UB40 “If It Happens Again” and many more.

Contemporary pianist and composer James Heather announces his
second album, ‘Invisible Forces’, via Ahead of Our Time, Ninja Tune
founders Coldcut’s first record label.
 An album influenced by the sensibility of electronic, ambient, orchestral
and post-rock music but channelled through solo piano and Heather’s
classical and jazz grounding.
 With regards to his “superb” (Crack Magazine) and “masterful”
(Electronic Sound, Dummy) debut, ‘Stories From Far Away On Piano’,
the songs are grander, deeper and broader in emotional range and are
developed through a series of improvisation techniques. Heather
describes it as ‘pulse music’, with each track performed in a single take
and with their roots in this live improvisation, often honed on the road
where he moves between tender to more propulsive, trance-inducing
dynamics.
 For fans of Jean-Michel Blais, Sarah Davachi, John Carroll Kirby, Otto A.
Totland, Ólafur Arnalds, Nils Frahm, The Cinematic Orchestra.
 CD in slipcase with printed inner.
 140g violet vinyl with holofoil detail sleeve.
 “The sound Heather makes is captivating.” - Electronic Sound
 “Masterful contemporary piano.” - Dummy
 “A remarkable piece of music that yields more secrets the more it’s
played” - Clash
 Featured in Coldcut’s ambient compilation ‘@0’ alongside Suzanne
Ciani, Ryuichi Sakamoto, Kaitlyn Aurelia Smith, Helena Hauff, Skee
Mask, Julianna Barwick, Steve Roach, Laraaji and Mira Calix.
 Notable supporters of Heather’s music include James Lavelle (UNKLE),
Nils Frahm, Cillian Murphy, Flying Lotus’ Brainfeeder (via the live
session he did for them in 2021), The Cinematic Orchestra, The Bug,
Leandro Taub, Actress, Bicep, Martyn and Tim Noakes (Dazed).
 James has collaborated with the likes of Dawn Richard, Coldcut,
Mumdance and Roger Robinson (King Midas Sound).

This eponymous Sony Classical debut album is a creative melting pot of different styles of classical music. The album features new compositions contributed by British composer and pianist Alexis Ffrench, Dutch neo classical pianist Annelie, French pianist/composer Alban Claudin, Oscar winning British composer Rachel Portman, British Cellist/composer Julian Lloyd Webber and American film composer Jacob Shea. Additionally the album features original compositions by Clara Schumann and Amy Beach as well as several unique new arrangements of some of the most famous classical melodies by Pjotr Tchaikovsky, Eric Satie and Frédéric Chopin. Specialist promo/marketing activity. 180gm vinyl and CD.

"_Acid blues punk meets freeform drone raag transcendentalism" JONNY HALIFAX is an untutored aleatoric free blues outsider. His new collection of sound is an instrumental departure into godless raag brut improvisations, layered, manipulated and sculpted into heavily immersive feral sonic collages. Invocations of an hallucinatory apocalyptic near future. Previously the creator of junkshop blues skronk one man band HONKEYFINGER, which then mutated into the gospel fuzz psych of Julian Cope endorsed JONNY HALIFAX & THE HOWLING TRUTH with their ""slitherin' electro -programmed slide guitar driven mung worship", alongside the ambient drone metal noisescapes of DEATHENTEREDINERROR, now THE JONNY HALIFAX INVOCATION channel heavy meditations on the present into an uncompromising free blues transcendentalism that burn raga-shaped holes into your chakra with searing psychedelic intensity. Inspired by Henry Flynt's avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3's contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Dave Gilmour weep. The blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. AÇID BLÜÜS RÄÄGS Volume 1 plays like a psychedelic western movie soundtrack, frenzied electric lap steel guitar suites play to melting cowboy minds. Flaming tumbleweeds blow in slow motion across wide open concrete vistas. Jodorowsky's El Topo meets Ballard's High Rise in an apocalyptic knife edge disintegrating urban landscape. Shut your eyes and conjure the best nightmares you've never had. The JONNY HALIFAX musical CV also includes studio contributions to releases by Andrew Weatherall's TWO LONE SWORDSMEN, UK metal behemoths ORANGE GOBLIN, hardcore thrash upstarts HECK (formerly BABY GODZILLA), and pan european psych noise titans MELTING HAND.

Classic Julian "Cannonball" Adderley LP featuring Miles Davis, Hank
Jones, Sam Jones and Art Blakey, pressed on 180g black vinyl, plus a 7"bonus single on yellow coloured vinyl

The exclusive 7" single includes "Alison's Uncle" (Aka "Bangoon") from the Somethin' Else session, plus the classic "Work Song".

Like only the most gifted storytellers, Matisyahu spins the rare kind of stories that simultaneously enlighten and enthral and expand the audience’s sense of possibility. On his eponymous new album, the Grammy Award-nominated singer/songwriter/rapper shares his most autobiographical work to date, merging that personal revelation with a shapeshifting collision of reggae and hip-hop and boldly inventive pop. Produced by Salt Cathedral (a Brooklyn-based duo comprised of Colombian musicians Juliana Ronderos and Nicolas Losada), the result is an undeniably transformative album, one that invites both intense introspection and unbridled celebration. About “Chameleon” On the album’s dancehall-infused lead single “Chameleon,” Matisyahu presents a potent piece of self-reflection spiked with equal parts idiosyncratic wordplay and warmly expressed wisdom (“Turn an evil eye inverted to let the light in/Illuminate the evil till dem heart get sizzlin’”). “Chameleon” Quote “Chameleon has two facets. On the one hand it is able to blend with its surroundings in order to survive without sticking out. On the other hand is the shedding of its coat in order to grow. The story line continues here as our protagonist must learn both the necessity to blend in it at times but also to continue to grow and change.”

Repress !

Max Roach's 1960 masterwork, We Insist!, is a suite based on the Civil Rights Movement, and involves variations on the theme of the struggle for African Americans to achieve equality in the United States, a struggle that is still all too relevant still. Roach began composing with lyricst Oscar Brown Jr. in 1959, with the initial intention of having the suite performed in 1963, on the 100th anniversary of The Emancipation Proclamation. Featuring the wonderful Abbey Lincoln on vocals, as well as Booker Little, Julian Priester, Coleman Hawkins, Olatunji, and more, We Insist! is a truly stunning album, one that knows no equal from that time or since, reissued on 180 gram LP with download code.

wieder auf Lager Die Hamburger Band Faust gehört zu den großen Namen, die der Krautrock der 1970er-Jahre hervorgebracht hat. Als Jean-Hervé Péron und Zappi Diermaier 1971 ihr Debütalbum vorlegten, wollte das in Deutschland niemand hören, im Ausland jedoch verkauften sich "The Faust Tapes" über 100.000-mal. "There is no group more mythical than Faust", schwärmte der englische Musiker und Krautrock-Kenner Julian Cope Jahrzehnte später. Mit "Just Us" setzen Faust ihren musikalischen Weg fort. Während Diermaier seinem Handwerk - Schlagzeug und Perkussion - treu bleibt, integriert Peron allerhand unübliche Klangquellen in sein Bassspiel, verschiedene Streichinstrumente, Klavier und sogar eine Nähmaschine als Metronom. Tracks wie "Nur nous" und "Ich bin ein Pavian" zeigen, dass Faust nichts von ihrer Vorliebe für Avantgarde und Dadaismus verloren haben. Ausflüge ins folkloristische Gefilde ("Cavaqui-ho", "Gammes") runden das wahrhaft faustische Überraschungspaket ab.

Die beiden 'Microtronics' Ausgaben sind zum ersten Mal auf Vinyl erhältlich, remastered von den Originalbändern, mit Artwork von Julian House. Ursprünglich erschienen sie als zwei auf jeweils 2.000 Exemplare limitierte Tour-3inch-CDs: 'Microtronics Vol. 1' 2003 zur 'Haha Sound' Tour, 'Microtronics Vol. 2' folgte 2005 zur 'Tender Buttons' Tour.

'Mother Is The Milky Way' ist zum ersten Mal auf Vinyl erhältlich, remastered von den Originalbändern, mit Artwork von Julian House. Ursprünglich 2009 als eine auf nur 750 Exemplare limitierte Tour-CD zur letzten Broadcast-Tour zum gemeinsamen Album mit der Focus Group, 'Investigate Witch Cults Of The Radio Age', erschienen.

Vier Broadcast BBC-Radiosessions, die zwischen 1996 und 2003 meist für John Peel aufgenommen wurden, werden zum ersten Mal kommerziell verfügbar gemacht, mastered von den Originalbändern, mit Artwork von Julian House. Neben alternativen Versionen vieler beliebter Broadcast-Songs enthält das Album auch Raritäten wie 'Forget Every Time' (das nur in der hier enthaltenen Session von 1996 für die Nachwelt festgehalten wurde) und das Nico-Cover 'Sixty Forty'.

Franz Ferdinand announce ‘Hits To The Head’, a 20-track greatest
hits collection showcasing the world-conquering success of the
band’s career to date.
 Released on Domino, ‘Hits To The Head’ also features two brandnew tracks - ‘Billy Goodbye’ and ‘Curious’, produced by Alex
Kapranos, Julian Corrie and Stuart Price (Dua Lipa, Madonna, Pet
Shop Boys).
 Armed with an astute sense of what constitutes the ‘classic pop song’
(famously proclaiming that they write music “to make girls dance to”),
the music of Franz Ferdinand continues to resonate globally and over
the course of nearly two decades they’ve become, commercially and
critically, one of the biggest UK bands in the world, selling over 10
million albums, 1.2 billion streams to date, 14 Platinum albums,
winning Brit, Ivor Novello and Mercury Prize awards, Grammy
nominations and selling six million tickets for their incendiary live
show worldwide.
 Deluxe CD in hardback book-style sleeve with 48-page case-bound
booklet with liner notes by JD Beauvallet plus lyrics.
 CD in standard jewel case with clear tray and 24-page booklet with
liners by JD Beauvallet.
 2LP into black poly-lined inner sleeves plus 16-page booklet with
liners by JD Beauvallet and digital download card.

THE 10TH ANNIVERSARY EXPANDED EDITION OF TIM BOWNESS &
GIANCARLO ERRA'S 2011 ALBUM 'WARM WINTER' - NOW ISSUED AS
MEMORIES OF MACHINES
An expanded & remixed 10th Anniversary version of Tim Bowness & Giancarlo
Erra's 2011 album 'Warm Winter' (now issued as 'Memories Of Machines', the
original project name).
Featuring contributions from Robert Fripp, Peter Hammill, Julianne Regan, Jim
Matheos, Colin Edwin, Huxflux Nettermalm, Peter Chilvers, Aleksei Saks &
members of Nosound & Tim Bowness's live bands, the album contains 10
sweeping & majestic songs (culminating in the epic "At The Centre Of It All").
The 2 disc - CD/DVD-A/V version includes hi-res stereo & 5.1 Surround mixes in
addition to two 2020 recordings - an album outtake & a new version of the
Nosound piece "Someone Starts To Fade Away" - created especially for this
release.
Featuring a 2021 remix from the original tapes by Giancarlo Erra, this new edition
emphasises the textural nature of the music & restores the pieces to their original
arrangements & track lengths (resulting in a different listening experience).
The artwork has also been overhauled for this release by Giancarlo Erra &
Caroline Traitler.

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

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 'best-of' collection that focuses on the band's post-reformation catalogue from 2003-2007. All music digitally remastered. All music appearing on vinyl for the first time. All tracks completely remixed by acclaimed producer Paul Tipler

Possibly one of the greatest pop-rock bands of all time, Derry's The Undertones have roots that go back 45 years to the 1977 punk explosion when they were beloved and championed by BBC DJ John Peel. Their reputation as recording artists and a brilliant live act has carried them through the recent two decades since they reformed in 1999 with new singer Paul McLoone. Dig What You Need collects the best of their two reformation albums, 2003's Get What You Need and 2007's Dig Yourself Deep. Both albums have been digitally remastered and both are being released for the first time on vinyl. In addition, all tracks have been remixed by producer Paul Tipler (Stereolab, Elastica, Idlewild, Placebo, Julian Cope, The House Of Love).

Stopped in the middle of a French and English tour by the Covid epidemic,
THE CELTIC SOCIAL CLUB immediately threw itself into the writing and
recording of what will become its fourth album - Combining absence and
distance, the seven Franco-Irish have patiently built, through the Channel
and from their respective home studios, these twelve titles which are
certainly, to this day, the most free, elegant and successful in their
discography
With great bursts of rock energy, pop melody and folk magic, DANCING OR
DYING? is simply a great record made by a band imposing a sound, a style and a
name.
The Times running a full page feature, mid February - (band are flying out
journalist to a big show they have in France). UK Full band show at Nell's, London
on 24th Feb. Festival confirmed Wickham, Beautiful Days, Glastonbury, Tolpuddle
Martyrs, Little Orchard. Julian Spear PR Andy Prevezer Plugging Mdnight Mango
Agent

Double album feature some of the greatest funk artists and their film bangers.

NYC-based collective MICHELLE release their debut album,
‘AFTER DINNER WE TALK DREAMS’, via Transgressive
Records.
 MICHELLE recently announced new 2022 US tour dates with
Mitski. The band also toured with Arlo Parks and followed with a
string of dates with Gus Dapperton in November and a UK and
European headline tour in February.
 Born-and-bred New Yorkers, MICHELLE formed in 2018 and
are comprised of Sofia D’Angelo, Julian Kaufman, Charlie
Kilgore, Layla Ku, Emma Lee and Jamee Lockard. The
predominantly POC and queer collective mix and match the
writing and production groups amongst the six of them.
 The hallmarks of MICHELLE’s music - layered vocal harmonies,
analogue synthesizers, vibrant percussion, smouldering hooks -
dominate the sonic landscape of their upcoming album, with the
four female vocalists pushing the boundaries of their
considerable singing talents while Charlie and Julian fine tune
the production. Despite all the tinkering elsewhere, it is
important to note that the vocals remain largely untouched and
appear in their organic state.
 Songs hop across genres, from funky R&B to bedroom slow
jams to amped-upbeat-heavy anthems and more. The
songwriting on ‘AFTER DINNER WE TALK DREAMS’ has been
elevated, as there is a depth and prowess at work that makes
good on the promise of the band’s early songs, something they
admit was learned by reflecting and allowing room for artistic
growth.
 “crisp R&B with a bright indie flourish… musical serotonin you’ll
want to bathe in for hours” - NME
 “A formidable new collective with a genre-bending approach to
songwriting” - The Line of Best Fit
 “like an aural hit of Vitamin D” - DIY
 “we can’t get enough” - Gay Times
 LP pressed on Ocean Blue vinyl.

After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.

The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.

In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.

Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...

A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.

A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.

B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.

B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.

B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.

Die Londoner Produzentin und DJ Elkka (bürgerl. Emma Kirby) kehrt mit ihrer neuen EP, „Harmonic Frequencies“ zu Technicolour zurück und liefert eine passende Nachfolgerin der von der Kritik gefeierten EP „Euphoric Melodies“, die Anfang des Jahres erschien.

„Harmonic Frequencies“ wurde während einer Zeit der Unsicherheit in den letzten Monaten des Jahres 2020 geschrieben und zeigt Emma, wie sie die Emotionen, die sie zu dieser Zeit empfand, verarbeitet. Vom tanzbaren Opener „Harmonic Frequencies“, in dem Emma energiegeladen und ausdrucksstark den Vibe der vorherigen EP, „Euphoric Melodies“ fortsetzt, bis hin zu den atmosphärischen und kathartischen Momenten in „Music To Heal To“ und „Voices“ (in dem wir Julianna Barwicks meditativem Gesang hören), in denen ihre Absichten darin bestehen, zu nähren, zu beruhigen und wieder aufzubauen. Die EP ist eine Ode an die heilende Natur der Tanzmusik in all ihren verschiedenen Formen.

- Schwarzes Standardvinyl (140g) im Pappschuber inklusive Downloadcode.

The End Of The Affair is a 1999 romantic drama film written and directed by Neil Jordan. The screenplay stars Ralph Fiennes, Julianne Moore and Stephen Rea. It was based on the 1951 homonymous novel by British author Graham Green. The story is set in London during and just after World War II and is about a flourishing extramarital love affair between Maurice (Fiennes) and Sarah (Moore).

The score was composed and conducted by Michael Nyman, one of Britain’s most innovative and celebrated composers who is best known for his efforts for The Piano (1993) and Gattaca (1997). Dominated by the 24 violin players in the Michael Nyman Orchestra, his compositions perfectly reflect the full emotional range of Jordan’s film.

For the very first time, the Original Soundtrack of The End Of The Affair is available on vinyl. The record is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert.

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

‘Expressions of Interest’ is the debut album from Melbourne/Naarm post-punk group screensaver.

Sonically, the 10 track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths and motorik drumming. Engineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021

The album opens with the ominously titled ‘Body Parts’, an immediately arresting song that showcases the bands penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.

Maynard doubles down on these themes in the frenetic second track, ‘No Movement’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett like flourishes.

The album takes a surprising turn into electronic driven krautrock on track three with 'Buy, Sell, Trade' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.

'MEDS' transports us back to the foundation established on 'Body Parts', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.

It's from this point in the album that the band let's their other influences rise to the surface, as they explore touches of EDM on 'Static State' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bass line culminating in a track worthy of the dancefloor.


Opening side two we have 'Skin', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to colour in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.

In ‘Attention Economy’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘Attention Economy’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom driven beat, lush synth lines and minimal bass tones.

Just when you thought things had slowed down, screensaver ramp things right back up again with ‘Overnight Low’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’

Before you can catch your breath, we have ‘Regular Hours’ - another industrial track, and perhaps the sister song to ‘Static State’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.

The album closes with the fittingly titled ‘Soft Landing’, literally bringing the listener back down...softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘Attention Economy’ a few tracks earlier.

‘Expressions of Interest” was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘Strange Anxiety’, throughout the first months of the Melbourne 2020 lockdown.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

All Them Witches are an American rock band from Nashville,
Tennessee. The band consists of drummer Robby Staebler,
vocalist / multi-instrumentalist Charles Michael Parks Jr.,
guitarist Ben McLeod and keyboardist Allan Van Cleave.
 The band’s musical style incorporates elements from multiple
genres, such as hard rock, stoner rock, psychedelia, neopsychedelia, blues, folk and southern rock; however, Julian
Marszalek of The Quietus noted that: “... this isn’t blues of the
‘woke-up-this-morning’ variety but one of malaise, anxiety and
fear brought on a by world seemingly dead set on destruction;
nor is this an escapist variant of psychedelia wherein one form
of reality is jettisoned in favour of another for reasons of cheap
thrills.”