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‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

Diamond Head are of seminal importance to heavy metal music, and their debut album Lightning To The Nations is a key influence on the genre. Silver Lining Music is therefore proud to present Lightning To The Nations (The White Album) Remastered 2021, the ultimate version of this ultimate album, featuring not only the original album from ¼ inch master tapes discovered in founder Brian Tatler’s archives, but also alternative mixes of classic cuts “Lightning To The Nations”, “The Prince”, “Sucking My Love” , “Am I Evil?” and “Sweet And Innocent” never publicly released (or heard) before. There is also brand-new cover artwork based on an idea Brian Tatler had to show a character referred to as ‘The Lightning God’.

The original tapes were first quite literally baked (a process which allows degraded tape to be returned to playable quality), then restored and digitized before Diamond Head frontman Rasmus ‘Ras’ Bom Andersen remastered the tracks, ending up with a pristine edition of the original recordings. The alternative mixes, pure treasure for all fans of both Diamond Head and the New Wave of British Heavy Metal, are supplemented by a set of bonus tracks originally recorded in 1980s, and rounding-out this ultimate edition are a set of deep and detailed notes on both the era and each song by Brian Tatler.

Lightning To The Nations (The White Album) [Remastered 2021], will be released as a double CD, a deluxe 180 gms gatefold triple-vinyl edition containing the original album remastered, the lost mixes and the bonus tracks. There will also be a single vinyl edition of just the remastered album, also on 180 gms.

“We wrote instinctively,” says Brian Tatler in his notes, “we had an undeniably unique sound. Four young lads, each with an element that, when combined, produced an alloy that was our own heavy metal sound.” Lighting To The Nations (The White Album) remains an indispensable alloy for any set of self-respecting

Diamond Head are of seminal importance to heavy metal music, and their debut album Lightning To The Nations is a key influence on the genre. Silver Lining Music is therefore proud to present Lightning To The Nations (The White Album) Remastered 2021, the ultimate version of this ultimate album, featuring not only the original album from ¼ inch master tapes discovered in founder Brian Tatler’s archives, but also alternative mixes of classic cuts “Lightning To The Nations”, “The Prince”, “Sucking My Love” , “Am I Evil?” and “Sweet And Innocent” never publicly released (or heard) before. There is also brand-new cover artwork based on an idea Brian Tatler had to show a character referred to as ‘The Lightning God’.

The original tapes were first quite literally baked (a process which allows degraded tape to be returned to playable quality), then restored and digitized before Diamond Head frontman Rasmus ‘Ras’ Bom Andersen remastered the tracks, ending up with a pristine edition of the original recordings. The alternative mixes, pure treasure for all fans of both Diamond Head and the New Wave of British Heavy Metal, are supplemented by a set of bonus tracks originally recorded in 1980s, and rounding-out this ultimate edition are a set of deep and detailed notes on both the era and each song by Brian Tatler.

Lightning To The Nations (The White Album) Remastered 2021, will be released as a double CD, a deluxe 180 gms gatefold triple-vinyl edition containing the original album remastered, the lost mixes and the bonus tracks. There will also be a single vinyl edition of just the remastered album, also on 180 gms.

“We wrote instinctively,” says Brian Tatler in his notes, “we had an undeniably unique sound. Four young lads, each with an element that, when combined, produced an alloy that was our own heavy metal sound.” Lighting To The Nations (The White Album) remains an indispensable alloy for any set of self-respecting

Lee Baggett began a new chapter of his eclectic and varied songwriting career with the 2021 release of Just A Minute, and he’s continuing his experimental streak with his latest full length, Anyway. The seasoned musician is changing his stripes again with this 10-song collection by leaning into a more rollicking sound at times, as evidenced by the brisker feeling “Fruit Dog,” the album’s lead single, and the bustling and twangy penultimate track, “Highway Roll.” By embracing more country-tinged sonic elements like banjo, organ-sounding keys, and harmonica, Baggett is able to weave through winding narratives that poignantly parse through the challenging nature of change and evolution. On “Highway Roll,” he confronts how landscapes and settings he once knew are now unrecognizable, and takes that motif a step further on “Earlier Than The World” by achingly and vividly describing “concrete and rubble” amongst a sea of delicate, yet biting guitar riffs. Escape seems to be a viable option for Baggett with “Sink In My Dreams” and “Dust In The Wind” serving as the album’s soothing remedies, inviting the listener to sit back and get lost in Baggett’s mesmerizing guitar playing. His nimble guitar work is a prominent fixture on Anyway, acting as a crux at several key points. It resonates forcefully and feels emotionally charged. Just take the meandering bridge on “Earlier Than The World” as a prime example of how Baggett can aptly convey feeling through riffs.



Delving deeper into Anyway finds some familiar sounds, with songs like “Oh Well” and “Anyway” evoking the seaside melancholy of Baggett’s prior works. But there’s decidedly more intimacy hidden in the crevices of his words and hooks. Throughout, Baggett uses his refined storytelling skills to share his relatable fears and coping mechanisms, his river-like path to unexpectedly finding love, and his musings on an ever-changing world, amongst other experiences. His conversational disposition, folk-styled lyricism, and emotive sonic backdrops make for an immersive listening experience. - Tom Gallo

Sechs Jahre nach seinem Debütalbum "Butter", in denen der fleissige Produzent u.a. mit seinem Projekt TNGHT (zusammen mit Partner Lunice) vorführte, wie man EDM und HipHop zu einem neuen modernen Clubsound vermengt, bietet sein Zweitling "Lantern" alles, was wir uns gewünscht, aber niemals erwartet hätten. "Lantern" ist ein Fusion-Album, das alles kristallisiert, woran Hudson bislang gearbeitet hat, ein Entwurf seines Masterplans. Eine moderne Fusion von avantgardistischem Ansatz und urbaner Pop-Sensibilität, intensiv und dynamisch orchestriert. Ein zeitloser, in die Zukunft blickender, neuer Massstab für Pop und Soul Musik. Herausragende Beispiele dafür sind die potentiellen Singletracks "Very First Breath" mit dem französischen R&B-Sänger Irfane, der chorale Hurricane namens "Warriors" mit dem kalifornischen Mysterium Ruckazoid an seiner Seite, sowie die elegische Symphonie "Indian Steps" mit Antony Hegarty on vocals.

Merging the simple with the complex. Whereabouts will be the second release from Danish guitarist/composer Rasmus Oppenhagen Krogh and compared to Krogh's critically acclaimed debut album, Distill, from 2017, this album marks new artistic directions for Krogh, both in terms of exploring the spheric versus the rhythmic dimensions, in the meeting between organic and manipulated sound sources and through its special focus on percussion. Whereabouts explores the intersection between improvisation/composition and simplicity/complexity, the relation between time and space and the sonic qualities of the musicians gathered in unity. The group consists of some of the leading voices of the contemporary Danish jazz scene, who have all worked across genres and borders, and are known for their work with internationally acclaimed bands/artists such as Girls in Airports, Jakob Bro, Paul Motian and IRAH among others. Krogh's debut album Distill was released by Centrifuga/Gateway in 2017 to positive reviews. The album was selected as album of the week by Danish Radio P8 Jazz and was highlighted as one of the ten best Danish jazz releases that year by the acclaimed Danish jazz blog Jazznyt. Besides his work as a composer and as a bandleader, Krogh has worked, as a guitarist, with artists such as Takykardia, Kentaur, Guldimund, Schultz and Forever, Jesper Zeuthen and many more.

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.

2x LTD CLEAR VINYL
Limitiertes, durchsichtiges Doppelvinyl inklusive Downloadcode!

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .

Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

Auf ‚Hurt & The Merciless' bannt das britische Soul/Rock Quartett The Heavy den Spirit ihrer gefeierten Liveperformances auf Platte!

The Heavy haben während der Vorbereitungen zu - Hurt & The Merciless', ihrem nunmehr vierten Album, schwere Zeiten durchlebt. Als wollten sie ihrem Bandnamen alle Ehre machen. Scheidung, Trennungen und alles, was der Alltag sonst noch an Steinen ins Flussbett des Lebens wirft, konnte die Band aus dem englischen Bath jedoch nicht davon abhalten, ihr bislang aufgedrehtestes und aufgekratztestes Album einzuspielen. Kelvin Swaby, Gitarrist Dan Taylor, Bassist Spencer Page und Drummer Chris Ellul hatten für das Album ein erklärtes Ziel: Sie wollten endlich den phänomenalen Furor ihrer Liveshows eins zu eins ins Studio übertragen. Tatsächlich lässt es das Quartett richtig krachen und die pure Rock'n'Roll gewordene Lebensfreude dringt hier bei jedem Song, jeder Performance durch die Poren.
Im Jahr 2009 war der Band mit der monströs guten Single - How You Like Me Now' der internationale Durchbruch gelungen. Wie populär der Song schließlich wurde, zeigte sich auch daran, dass er auf etlichen Filmsoundtracks, in Fernsehserien, Games und Werbespots auftauchte. - Hurt & The Merciless' markiert in seiner nahtlos verzahnten Mischung aus Rock'n'Roll-Klassizismen, Funk- und Soul-Grooves sowie feinen Zusätzen experimenteller Klangelemente den vorläufigen Höhepunkt im Schaffen dieser Band. Das Feuer ihrer Liveshows haben sie in ein knappes Dutzend ihrer bis dato besten Songs infiltriert. Sie klingen fürwahr gnadenlos gut. The Heavy dürften mit diesem furiosen Opus mehr denn je schwer angesagt sein.

'Hypnotise' is the spellbinding new single from sampler slayers, The Allergies. Who, once again, build funky new worlds out of dope beats and loops from their wild and wonderful record collections.

Here, the Bristol-based duo break new ground, sampling the incredible Deli Sosimi and heading out on the housier side of things, working a deadly dancefloor 4/4 around their signature soulful stylings.

Pulsing kicks and playful percussion keep the pace, as euphoric Afrobeat horns and insistent vocal lines build the energy in the room.

It's a captivating cut, made for discerning DJs and discos. But, as soon as you let the infectious double bass-led groove hit you, you'll mesmerised by the music.

'Vamonos' on the flip laces old school boogaloo and salsa samples with sizzling hi-hats, claps, and club-ready breaks. It's an anthem for beach bodies, holiday heroes, and sun-seekers, hell bent on escaping the rat race.

Das Londoner Electro-Pop-Duo Real Lies verbindet klassische englische Pop-Poesie mit den regenverhangenen Atmosphären von Künstlern wie Claude Young, Drexciya und Richard D James. Auf dem zweiten Album 'Lad Ash' romantisiert Texter Kevin Lee Kharas ekstatische Teenagerausflüge, die die Koordinaten für zwei Jahrzehnte des aufregenden Hedonismus setzten. Eine wilde Zeit, die sowohl zum euphorischen Debüt 'Real Life' (2015), Remixes für Pet Shop Boys und Two Door Cinema Club in 2016, als auch zur langen Wartezeit auf den Nachfolger führte.

"I grew up loving all different kinds of music. I loved everyone from Elvis to the Eagles to Merle Haggard to Earth, Wind and Fire to Queen. As a songwriter, I’ve had not only the great opportunity but pretty decent success writing songs in multiple genres. I felt it was finally time to embrace the same opportunity not only as a writer but as a singer. It’s my voice that supplies the common thread of all the different types of songs I wrote for this album”, says Richard. Songwriter showcases four sides of Richard Marx with 20 brand new songs crossing four musical genres - Pop, Rock, Country and Ballads on red colored double vinyl. Co-writers on the set include Keith Urban, Darius Rucker and Burt Bacharach.

TRACKLIST: POP 1.. Same Heartbreak Different Day 2. Only A Memory 3. Anything 4. Moscow Calling 5. Believe In Me ROCK 1. Shame On You 2. My Love, My Enemy 3. Just Go 4. One More Yesterday 5. We Are Not Alone COUNTRY 1. Everything I’ve Got 2. Misery Loves Company 3. One Day Longer 4. Breaking My Heart 5. We Had It All BALLADS 1. Always 2. Still In My Heart 3. Maybe 4. As If We’ll Never Love Again 5. Never After

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.

Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories

DJ Scriby - Izingoma zeGqomu / DJ MARIIO - ZULU MAN / DJ Skothan – Nevegation. Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

Grammy-nominated blues, soul and Americana singer is revered
worldwide for her defiant music and fire-breathing performances
' Done Come Too Far' continues Shemekia's riveting, clear-eyed testimony about
our troubled world while celebrating the blessings that keep hope alive. The new
album, available in Clear Vinyl and CD, is again produced by Will Kimbrough, and
an all-star supporting cast includes slide guitar whiz Sonny Landreth, Hill Country
blues great Cedric Burnside and Hi Rhythm Section organist Charles Hodges.
'Done Come Too Far' is another exhilarating Shemekia Copeland showcase, as
her rousing vocals bring the heat in an infectious array of muscular rockers,
stomping blues, swampy soul and heartbreaking ballads. Intense, topical new
originals make up most of the tracks and spirited versions of songs by Ray Wylie
Hubbard and her father, Johnny Copeland, fit right into the mix.
MOJO - September review
BLUES MATTERS - upcoming review
BLUES MATTERS - upcoming feature with interview
BLUES IN BRITAIN - upcoming review
BLUES IN THE SOUTH - upcoming review
BLUES' BLUES - upcoming review
BLUES BYTES - upcoming review

New album by Steamhammer - British blues-rock band STEAMHAMMER
was formed at the end of 1968 by Martin Quittenton (guitar), Kieran White
(vocals, harmonica, guitar), Martin Pugh (guitar), Steve Davy (bass) and
Michael Rushton (drums)
Their first album "Reflections" (AKA "Junior's Wailing") was released in 1969. Pete
Sears played piano on this album before he joined Rod Stewart on his four early
classic recordings. Pugh also played on Rod Stewart's first solo album, "The Rod
Stewart Album" (AKA "An Old Raincoat Would Never Let You Down") with Ron
Wood, Mickey Waller, Martin Quittenton and Keith Emerson. After "Reflections",
Quittenton and Rushton both quit the band to be replaced by Mick Bradley
(drums) and Steve Joliffe (sax, flute), who gave a jazzy influence to the band in
their second album, "Mk. II" (1969). Shortly after this release, Joliffe left the band,
which continued as a 4 piece in their third album "Mountains" (1970), which was a
returning to the blues- rock of the first album. After a major turnover, Pugh and
Bradley invited Louis Cennamo (bass) and, along with special guest Garth WattRoy (vocals), recorded "Speech" in 1971. This last album was released
posthumously, after Bradley's death in 1972.Now, exactly 50 years after the
release of "Speech" and 53 years after Pugh and Sears collaborated on the band's
first LP, Steamhammer will release a new album, "Wailing Again". Featuring beside
1968 founder member Martin Pugh (guitars) and Pete Sears (bass, keys &
background vocals), member of Jefferson Starship from 1974 to 1987, Manfred
Mann's Earth Band - drummer John Lingwood, who joined Steamhammer in 1972,
and Phil Colombatto (vocals & harmonica).

Superdownhome's new record is called Blues Pyromaniacs - It was
recorded in New Orleans in January 2020 and produced by Anders
Osborne
"Then the virus stroke and we, consequently, had too much spare time… and idle
hands are the devil's tools, so we've constantly been working on the tracks for
almost two years. That's the reason why the record is going to be released in two
very different versions: the vinyl edition contains the original US recordings, the
cd/digital version contains four extra tracks. It has been mixed in Italy in a very
different way and the mastering has been made by Brian Lucey (The Black Keys/
Arctic Monkeys/Royal Blood). And, last but not least, there are two very special
guests: Mike Zito on two of the tracks and Bombino on another.

Los Angeles-bred "SoCal Country" singer Sam Outlaw will release a pedal
steel-stamped, new wave-inspired record titled 'Popular Mechanics'
Solely writing seven of the album's 11 tracks, Outlaw fuses the sounds of his
favorite artists of the '80s - Kenny Loggins, Cyndi Lauper, Tom Petty - with stories
influenced by the great innovators of the 20th century and the engineers that
make up his own family tree. The ambitious direction of 'Popular Mechanics' may
seem like a sudden shift from Outlaw's country-leaning albums, 'Angeleno' (2015)
and 'Tenderheart' (2017), which garnered appearances on CBS Saturday
Morning's Anthony Mason, NPR, The New Yorker, Wall Street Journal and more,
but the gears actually started turning in early 2018 after Outlaw shelved some
new material he recorded in Southern California. Following his cross- country
move to Music City that same year, Outlaw found unexpected inspiration during a
visit from his father, a mechanical engineer, and it prompted him to shift his focus
to the technological side of music creation. The epiphany came when he
connected industrial machines with the role technology plays in recorded music.
Growing up on the hits of the '80s, an incredible time of transformation in music
history, he remembers everything came into focus for the album once he
envisioned the title, 'Popular Mechanics`

Brooklyn band Office Culture is made up of four longtime collaborators
(and all solo artists in their own right) lead singer and songwriter Winston
Cook-Wilson (vocals/keyboards), Ian Wayne (guitar), Charlie Kaplan
(bass), and Pat Kelly (drums)
Following the electronic avant-pop experimentation of their debut album I Did the
Best I Could, the band's critically acclaimed sophomore LP "2019's A Life of
Crime "unveiled a lush, jazz- inflected sound that Pitchfork described as "sleek
music for a cursed place, opulent like a ritzy hotel lounge." Cook-Wilson's wry and
contemplative songs reflect the bandmates' shared points of musical reference,
including Nite- Flights- era Scott Walker, mid- 70s Joni Mitchell, Curtis Mayfield,
and ECM-label jazz. The FADER wrote: "Office Culture spends the best moments
on A Life Of Crime sounding like the most vital lounge-pop act of all time. Big
Time Things "the band's third album and Northern Spy debut "is a more
maximalist affair. Written and recorded across the course of three years, it's a
meticulously orchestrated and groove- forward record featuring nine of CookWilson's most ambitious compositions to date. Tracks like singles Elegance, Big
Time Things, and Little Reminders draw together a disparate collection of
influences, integrating soulful vocal harmonies, horns straight out of 70s spiritual
jazz, string arrangements informed by modernist classical music, and beats that
reflect the band's enduring love of neo-soul and hip-hop.
The playful experimentation of the arrangements elevates the melodrama and
humor of Cook-Wilson's songs "his most emotionally direct to date "which trace
the complexities of our efforts to better ourselves by learning from our worst and
least rational behavior, and how we attempt to apply that knowledge to nurturing
close personal relationships. The record features a dense cast of supporting
players, including Carmen Q. Rothwell, Caitlin Pasko, Alena Spanger (Tiny
Hazard), and members of Cuddle Magic / Mmeadows. The album releases via
Northern Spy.

George is Lord is a celebration of all things George Harrison - What began
as an exercise inlearning to play the drums, became a band - Anna
Pomerantz quit her job as Interior Designer to the stars and called upon
old friend Lindsay Glover, to teach her to play the drums
Lindsay, who has played in local LA favorites, Whiskey Biscuit and Future Pigeon,
began by teaching Anna the fundamentals and quickly it turned into learning
songs. "One of the first songs we learned was 'Something.' I've actually spent
most of my life hating the Beatles, but hearing them again for the first time
through the drums, made me fall completely in love, especially with George and
Ringo" recalls Anna. "I began teaching Lindsay the guitar and we started playing
together." The duo went on to learn a number of songs like, "Long, Long, Long," "All
Things Must Pass," and "Give me Love" when they realized they were ready to play
with other people. Lindsay asked friend Cody Porter of Pearl Harbor and Puro
Instinct to come play bass. "In our lessons, Lindsay had taught me how to sing
while playing the drums to keep my place in songs. I didn't think I was going to be
a singer in a band, it just happened." The missing ingredient was a lead guitar
player, and the trio invited Sam Blasucci of the popular LA folk duo Mapache if
he'd be willing to jam with us. He brought his magic and completed George Is
Lord. George is Lord recorded their first album of covers with producer Jason
Quever (Beach House, Cass McCombs). Dean Wareham (Luna, Galaxie 500)
appears as a guest. The ten song record includes a variety of George favorites
from the Beatles catalogue and throughout George's solo career.

Space Summit is a collaboration between the omnipresent Marty WillsonPiper (ex-The Church) and Minneapolitan Jed Bonniwell
Writing the music together, Marty handles the luminescent electric guitars and
the bass whilst Jed is in charge of lead vocal duties, and lyrics. The music
created on Space Summit's debut album is simultaneously modern and classic
dream pop – the subtle shading of dark and light with layered, sonic textures on
every track.Conceived in cyberspace, the album is produced by Marty and
producer/ engineer Dare Mason who also plays keyboards. Phoebe Tsen sings
harmony vocals, Olivia Willson- Piper plays the strings, Eddie John plays the
drums and Anekdoten's Nicklas Barker and Sophie Linder play Mellotron. All the
usual suspects from Marty's recent Noctorum and MOAT projects make an
appearance. Bringing together musicians from England, the USA, Sweden, and
even Borneo where Phoebe lives, is recognition of a new future in music.
This album is the first of Marty's intriguing Sessioneer Series working with newly
discovered collaborators from around the globe.

Pocket Fantasy, the sophomore album from Mamalarky is an instantclassic sunny-day record, imaginative and introspective, an enveloping
listen of skyhigh hooks and keyboards that soar with joyful abandon
Its twelve kaleidoscopic tracks shapeshift aesthetically and thematically, through
ideas about death and impermanence; love and gratitude; nature and technology;
humor and hope. Heralded by Billboard, Nylon, The Fader and more, the new
album expands on the unique sound of their self- titled debut which Pitchfork
called "tenderly tangled indie rock". On Pocket Fantasy some of the band's purest
pop tendencies collide with more warped and weird strains of quirky psych. It's a
treasure trove of playful grooves and zigzag riffs, a phenomenal album from a
young group poised to carve their own place in the bins of your favorite record
store.

In celebration of the album's 20th anniversary, Yep Roc Records is
pleased to announce the limited edition release of Caitlin Cary's first fulllength album, While You Weren't Looking for the first time on vinyl
Produced by Chris Stamey and co-written by Cary and Mike Daly, the 2002 record
showcases Cary's powerful, soothing vocals and features Caitlin performing on
violin, creating a wistful and intimate acoustic feel. With only 1,000 copies
available worldwide, this limited edition LP includes the original tracks from While
You Weren't Looking plus 3 bonus tracks - "Trickle of Whiskey," "The Fair (Band
Version)," "Keys to the Fair." Pressed on Frosted Blue color vinyl.

For nearly 10 years, there's been one address in Tel Aviv where people
know they can find pure, fiery musical energy: TIGRIS - And with UTRY,
we've collected all the band's tightest grooves and most exciting
melodies on one career-spanning compilation
It's a Raw Tapes celebration; consider it our gift to you - nine party- starting
polyrhythmic tunes that melt down Senegalese percussion, East African tezeta
jazz, swirling psychedelic keys and surf guitar into a potent brew. Keyboardist
Roei Hermon, percussionist Oded Aloni, bassist Amir Sadot, guitarist Ilan Smilan
and drummer Itamar Katzir first assembled their musical vision in an Ethiopian
restaurant in Tel Aviv, and they've been diving head-first into electrifying grooves
ever since. On "UTRY," you'll vibe with their finest cuts, pulled from TIGRIS's three
LPs. It's your own tailor-made house party playlist. Just don't be surprised when
the party spins out of control.

The much-demanded reissue of oud player and composer Rabih AbouKhalil's iconic 1992 album 'Blue Camel', featuring trumpeter Kenny
Wheeler, saxophonist Charlie Mariano, bassist Steve Swallow and
percussionists Ramesh Shotham and Milton Cardona
Kurt Keefner stated "Blue Camel is the pinnacle to date of Lebanese oud player
Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can
almost be characterized as a new Kind of Blue. Both tense and reflective, it is
perfect for listening after midnight ... Blue Camel may not be a perfect album, but
it demonstrates better than any other that a fusion between jazz and a musical
form from another culture is possible and can work to the advantage of both.
Plus, it's just great listening".
Metal Reviews said: "The album glories in crafting a successful blend of Arabian
music and jazz: a very homogeneous and enjoyable fusion with enough shift in
mood and method to keep things interesting".

(Cargo Collective Title) RIYL: Barker, burger/ink, Andy Stott, Shackleton, Monolake, Jan Jelinek, Perila, Fax. 180gLP in 350gsm jacket + 190gsm inner + DL. CD in custom mini-gatefold paperboard jacket. T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation’s Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video1capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative—though still spartan—layers of performance. “Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms” notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy’s sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese ‘forest bathing’), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus. Tracklist: 1 350J 2 Miracles 3 Déneigeuse 4 Transcend I 5 U4A 6 Vidisions 7 Clipse 8 Transcend II

Our earliest exposures to music can often be the most formative
For Toronto- based songwriter and multi- instrumentalist Eliza Niemi, that
influence came from her Dad who taught her the basics of bass and guitar at
home. These childhood experiences of playing music together by ear fostered the
sense of playfulness that she's approached her craft with ever since. They also
instilled an ethic in her creative work that prioritizes making music with friends
and loved ones.Those honed guitar — and later piano, cello and vocal — skills
make Eliza an ideal collaborator: starting in Halifax's rich music scene with the
mid-2010s experimental pop groups New Love Underground and Mauno, and
later in her role supporting artists Le Ren, Quaker Parents and Evan J. Cartwright.
Through the rhythms of touring and the brilliant spark that's shared in musical
exchange, Eliza found and developed connections across Canada's DIY music
communities. These collaborative moments fuel her creative practice, whether
playing solo, in an ensemble or releasing others' music as the founder of her own
label, Vain Mina Records.Connection and collaboration lives in the intimacy of her
albums, starting with 2019's Vinegar, an understated set of songs for cello,
keyboard and voice that wander with a comforting grace. 2020's Glass furthered
Eliza's reputation for writing songs that are boundless and experimental without
ever being alienating. There's an open, inviting quality throughout the record,
apparent from the close-miked instruments, to her softly sung and affable lyrics
that unfold like a conversation with a good friend.Her latest album, Staying
Mellow Blows, furthers these ideas and aesthetics to a staggering degree,
retaining the candor, humor and emotional humility she's known for, while letting
the vast number of supporting musicians shape each song with their own
emotionally resonant performances. The result feels whimsical and inspired, and
is the sound of an artist flourishing
180g 12" Deluxe Lavender Vinyl

Gold Vinyl

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

This volume "Caribbean Rare Groove" is an invitation to discover music from the cultural mix of the islands and countries located on the Caribbean Sea. From Haiti to the Bahamas via the French West Indies, this journey explores the traditional rhythms of Soca, Calypso or Biguine that musicians such as Gordon Henderson, Max Cilla or the group Skah-Shah have skilfully blended with Soul, Funk or Disco influences, creating a unique groove with multiple facets. Have a good trip!

US Born, Manchester-based Avernian inaugurates his newest club-night turned-label venture, with the help of Stenny (Ilian Tape), Tammo Hesselink (Delsin) and Jabes (Timedance).

The first four-track compilation comes to form with opening piece 'Kembow' by Ilian Tape mainstay, Stenny; a pacy bass-ridden roller, executed to devastating effect with razor-sharp synths that stab down into the midrange of the speakers like daggers, sitting atop dread-ridden sub frequencies.

Label-founder Avernian follows suit, already being widely recognised for rowdy releases on imprints such as More Time, Fever AM and Scuffed Recordings. 'Power Stance' continues the 12" with elephant trunk synthesis, and a galloping, low-mid frequency rumble that is second to none.

Jabes (Timedance/Klunk) delivers 'Rite'; a deeply tense excursion with harrowing sound-design and analogue delays that dance around a playful stereo field, mixed down to extreme, scientific hyper-precision.

Closing out the record is Tammo Hesselink (Delsin/Nous'klaer Audio) supplying 'Water Plus' with a neck-snapping groove of warm and distorted, polyrhythmic claps that have been self-recorded among a frenzy of foley lines that spiral into fun and friendly dancefloor adrenaline, bringing the compilation to a clean close and leaving the listener pining for the label's follow-up.

Third volume in our series of Afro-Latin sounds from the golden period of the seminal Discos Fuentes label in Colombia. An outstanding selection of 26 hard-to find-tracks, many reissued for the first time, covering a wide array of Afro-rooted genres, with an stronger focus on the music's folkloric origins than in previous volumes, comprising recordings by the likes of Michi Sarmiento, Wganda Kenya, The Latin Brothers, Los Corraleros De Majagual, Peregoyo_ It's been a few years, but Vampisoul is back with the next installment of Colombian tropical bangers from the deep vaults of Discos Fuentes. The term Afrosound denotes an always exciting, sometimes surprising soundtrack chronicling the embrace, development, dissemination, and commercialization of the country's rich Afro-Coastal musical heritage over more than four decades. It is the proud sound of African-rooted culture translated, transformed, and transmitted through the commercial enterprise of Discos Fuentes, and this third collection offers an even more diverse and chronologically wide-ranging array of tracks than the previous two volumes, with an even stronger focus on the music's folkloric origins. The unifying factor this time is the same: African roots or influences and the period of experimentation, self-expression, upheaval, rebellion, and rebirth in the industry, nurtured by the label and its stable of musicians, song-writers, producers, and engineers. Although this volume does not list Fruko Y Sus Tesos in the track-by-track credits, the presence of Julio Ernesto Estrada Rincón can be felt throughout, with the first half setting the stage for his artistic birth, schooling and eventual emergence at the label, and the second half featuring bands that he was an integral part of or had a hand in creating, producing, and composing for. And with that said, we dedicate this collection to Fruko: long may he reign as The King of Afrosound. This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. It includes an extended booklet with notes by compiler Pablo Yglesias aka DJ Bongohead.

1000 Robota im Jahr 2022 sind, soviel sei verraten, immer noch Sebastian Muxfeldt, Jonas Hinnerkort und Anton Spielmann. Und was macht eine Band, die schon immer den Zeitgeist angeschrien hat, mit der hochfrequenten Gegenwart? Sie durch den Fleischwolf drehen und ihr die eigene Reflexion vorlegen, genauer: Ein neues Album. Es klingt gewaltig, intensiv und intim zugleich und strahlt eine utopisch finstere Wärme aus. 1000 Robota über das Artwork: Jede Platte ist physisch (per Hand) individuell von uns gestaltet worden. Kein Artwork sieht gleich aus. Durch Heißluft werden handelsübliche Supermarkttüten um die Albumhülle geschmolzen. Faktisch gibt es kein "grafisches Artwork", es ist physischer Natur und schafft sich seine ganz eigene Form, die zu immer wieder neuen, unberechenbaren Oberflächen, Kerben und Strukturen führt, zu einer zusammengeschmolzenen und übersehenen Welt. Wahrscheinlich unsere Welt.

Brandneue 6-Track-Vinyl-only-EP von Kelela, eine der stärksten Vertreterinnen des Future-R&B, frisch gesignt auf Warp Records, z.T. produziert von Arca. Die "Hallucinogen EP" - von den Meinungsmachern bei Pitchfork als "sinnlicher, feinfühliger Hi-Definition R&B-Ansatz" bezeichnet - erzielte bereits mehrere "Album Of The Week" Platzierungen in den Trendmedien (Spin, Stereogum) und besitzt laut Guardian "mehr Ideen in den 6 Songs als manche Künstler in 6 Alben haben". Auch das Radio hierzulande zeigt sich sehr aufgeschlossen.