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Juno-winning saxophonist Chet Doxas is a guiding voice in the world of
creative improvised music
Doxas, co- leader of Riverside with trumpeter Dave Douglas and a respected
collaborator of Carla Bley and Paul Bley, joins Whirlwind for 'You Can't Take It With
You', his ninth album as a leader and first at the head of a trio. He's joined by two
stand-out collaborators - Ethan Iverson (piano) and Thomas Morgan (bass) - for a
meticulously constructed album with playful positivity at its heart.Both the
inspiration and the encouragement to put this album together can be traced back
to Carla Bley. Jimmy Giuffre's trio was a big influence on Doxas - "the way he
shapes and articulates is one of a kind - and the group regularly featured Bley's
music. An early-morning airport transfer saw Doxas discussing future plans with
Bley and Steve Swallow, who advised Doxas to write "one song a month",
distraction-free for a year.
The ten tracks on the album represent a year spent writing and closely editing his
compositions. That process gradually revealed his trio, selected for their personal
sensibilities as much as their outstanding technical capabilities. "Ethan and
Thomas's tones are very inspiring. I wanted to let myself be guided by their sound
palettes, and focus on phrasing in a way that's a little more multidimensional.."

Limited deluxe edition of 999 copies - 2xLP comes with a gatefold sleeve
and a massive 20-page booklet cram packed with photos, memorabilia,
and in-depth liner-notes of the wild tales from back in the day
Subliminal Sounds proudly presents ALEXANDER LUCAS! The long- lost music
and history of the groundbreaking and legendary Swedish hard rock/proto-metal
band active between 1969 and 1976. This mind-blowing 2 LP set contains their
extraordinarily rare self- financed 1973 single Speed/ Svarta Skogen (The Black
Forest) that was issued on the custom record label Efel, plus tons of killer
previously unreleased recordings. A dream come true! The thoroughly researched
booklet documents the band's long history, including their early incarnations and
different line-ups. The pioneering young group performed an extreme number of
gigs with their amps cranked up to the max at youth halls all over the country, and
it was through performing their skilled, innovative, raw hard rock that ALEXANDER
LUCAS became very popular and influential among the long-haired stoner teens,
eventually graduating to bigger venues. ALEXANDER LUCAS is the latest sizzling
heavy meatball in our tasty series "The Swedish Hard Rock Underground: A
Smorgasbord of Heavy Sounds!"

"Bywater Call will be among the best new bands of the decade" - Nathalie
Leblond of Blues Quebec Toronto-based, 2020 Maple Blues Awards
nominees for Best New Artist, Bywater Call's self-titled debut album was
released in Canada, USA, Europe and Australia on November 22, 2019
The album received rave reviews across all territories and placed #1 on the Roots
Music Report Canada Top 50 for 11 straight weeks and continues to place today.
It was featured as album of the month on the IBBA chart, gained repeated top 5
placement on the International/ US Rock Blues, and top 20 placement on the
International/US Blues RMR charts.Bywater Call are geared to released their longawaited sophomore album 'Remain'. This album is for fans of roots/ blues rock
bands such as Tedeschi Trucks band, Marcus King, Beth Hart, and alike.

Heart to Gold is a band from Minneapolis, Minnesota. To be even more specific, they’re three guys from Fridley and Columbia Heights, two towns on the north end of the Twin Cities. These facts are important: the three members of Heart to Gold share an intimate and reciprocal relationship with their hometowns. They celebrate and support one another.

The band’s upcoming second full-length record, Tom, is a swaggering, scrappy punk rock love letter to their hometowns and all the glory, pain, conflict, and reward that come from being of a place and a community and seeing both through, even to bittersweet ends. (Plus, it’s got an I Think You Should Leave reference.) It’s named for and dedicated to their best bud, Thomas Vescio, though his is not the mug leering goofily on the record’s cover. “That’s our bass player Sidian Johnson,” says singer and guitarist Grant Whiteoak. It’s an intentional feint: “It’s kinda silly, we knew people would think, ‘Oh, that must be Tom.’ Nope.”

The long awaited debut album from ROE – winner of Northern Irish Music Prize’s Best Emerging Artist. Recorded and Produced by Tommy McLaughlin (Villaghers/SOAK) in the wilds of Donegal in 2021, ‘That’s When The Panic Sets In’ is truly vibrant release, with rich contrast between ROE’s introspective anxieties and the colourful palette that she’s thrown across them. Hear the development and evolution of an artist and their style in real time over the course of 12 joyous, introspective and beautiful tracks.

Barbara, die Frau ohne Gedächtnis, irrt durch die malerischen Straßen Hamburgs. Eine zwielichtige Hypnosesitzung und ein nichts ahnender Liebhaber bringen ans Licht, was sich hinter ihrer unschuldigen Schönheit verbirgt. Die Erlösung scheint in greifbarer Nähe, doch der Drang, weiteres Unheil anzurichten, ist unwiderstehlich... Erst der Tag entblößt das wahre Grauen: GIALLO COME IL GIORNO, das fünfte Genre-Album von MONDO SANGUE setzt dort an, wo die vielbeachtete Giallo-LP ROSSO COME LA NOTTE (2021) endete. MONDO SANGUE und ihre Leidenschaft für die Musik und das Kino der italienischen 1960/70er ziehen Kreise. Auf GIALLO COME IL GIORNO sind die Genreliebhaber und Italien(Be)kenner Bela B, Eric Pfeil, Dirk von Lowtzow und Rocko Schamoni auf schwarzem Gold vereint. Die Vinyl 10"-EPs, von Adrian Keindorf illustriert, sind inkl. farbigem Beileger, Texte und Downloadcode auf 444 Stück limitiert und handnummeriert. Über MONDO SANGUE Das Stuttgarter Duo MONDO SANGUE (Christian Bluthardt & Yvy Pop), gegründet 2015, produziert Cinematic Pop in Anlehnung an das italienische Genrekino der 1960/70er. Nach einem Ausflug in den Dschungel (L"ISOLA DEI DANNATI - Die Insel der Verdammten; Soundtrack zu einem fiktiven Kannibalenfilm, 2016), einem Ritt durch den Spaghettiwestern (NO PLACE FOR A MAN - Il Villaggio delle Donne, 2018) und einer Reise ins All mit dem Science?Fiction-Abenteuer VEGA-5 (Avventure nel Cosmo, 2020) feiern MONDO SANGUE das legendärste Italo-Genre, den Giallo, gleich zweifach: mit ROSSO COME LA NOTTE (2021) und GIALLO COME IL GIORNO (2022).

Criminal Heart is not just another album from another Singer-Songwriter
According to Beth Nielsen-Chapman, "This is what killer songwriting sounds like"
Legendary guitarist Robben Ford describes it as "Absolutely beautiful."And Chris
Difford reckons it's the work of a "Fantastic and special singer-songwriter."This is
a 'coming of age' album from Hollie Rogers, who remains, by choice, completely
independent. Known already for the candid, confessional nature of her songs and
for live performances that make audiences laugh and cry, Hollie refers to the
album, which has been 5 years in the making, as her "baby." She says, "I'm not
having a human one. I'm proud to have nurtured this one instead; it's got a great
personality and there's absolutely no poop."
The album is the most impressive showcase to date of Hollie's songwriting
prowess, with each song framing insight into a cohesive story; one that reveals
itself more and more with each and every line of lyric. Love, lust and selfdiscovery are some of the key themes tightly bound together throughout, as an
added maturity reveals itself in the record's strong melodies, satisfying harmonic
structures, and hooky choruses. (Try listening to 'Sinner' or 'Love' without them
becoming earworms.)
Criminal Heart was produced at Masterlink Studios, Surrey - with a cast list of A
Grade players in the shape of Masterlink's House Band. Their CV's run like a
'who's who of music' - think Elton John to Herbie Hancock - and, much to Hollie's
particular delight… The Spice Girls. She admits, "Much as I may profess my
influences to be exclusively the likes of Joan Armatrading and Joni Mitchell, I
can't deny there's probably a smidge of Spicefluence hidden in there somewhere.
Girl Power!"
But spice aside; this is no 90s pop record. Indeed, US guitar legend Robben Ford
and UK chart- topper Jamie Lawson make guest appearances, as does a track
produced by 4- time Grammy- Nominated James McMillan. All serving to add
some particularly tasteful icing to a not- inconsiderable cake. (Or more likely, a
pasty - since Hollie is from Penzance, Cornwall. It's no coincidence that her name
rhymes with a famous Pirate Ship.)

The Southern state’s musical giants have always had their own distinct recipe for
American roots: spiced with jazz, steeped in swamp-blues and cooked up a little
differently by every artist who performs it. As a second- generation child of the
Bayou State, Kenny Neal has taken his own inimitable guitar, gale-force harp and
roadworn voice all over the globe. But in 2022, the Grammy- nominated blues
master’s latest album, Straight From The Heart, finds him drawn by the siren call
of his hometown and musical ground zero, Baton Rouge.“This is the first album
I’ve ever recorded on my own turf, and it truly came straight from the heart,” says
Neal, who both led and produced a crack team of local musicians at his own
Brookstown Recording Studios. “All the tributaries of the blues converge here,
flowing into one rich tradition.”You’ll hear all of Neal’s travels in Straight From The
Heart, but this latest album brings it all back home in every sense. Lining up in the
studio alongside his Baton Rouge compadrés, the respect that Neal commands
on the scene also drew some special guests, including hot- tip blues sensation
Christone ‘Kingfish’ Ingram (who co-writes and plays stinger guitar on Mount Up
On The Wings Of The King), pop royalty Tito Jackson (on Two Timing) and two
songs with Rockin’ Dopsie Junior & The Zydeco Twisters. You’ll even hear Neal’s
supremely talented daughter Syreeta drive the vocal outro of Two Timing.“It was
like a family reunion,” says Neal of the good-natured sessions. “It was excellent
because I had all the musicians that grew up under me here in Baton Rouge. And
just being in my own studio, not worrying about the clock.”Straight From The
Heart is a fitting title for a record that salutes the many loves of Neal’s life.
There’s the brass-driven opener Blues Keep Chasing Me, which tips a hat to his
recently departed friend, Lucky Peterson. There’s the touching piano-led Someone
Somewhere, which salutes his beloved father, harp master Raful Neal, who put
him on this path. Elsewhere, Neal’s deep love for every side of his home state is
underlined by the zydeco chop of Bon Temps Rouler and New Orleans, whose
lyrics reference everything from “sippin’ on Hurricane” to “sittin’ on the Bayou
catching catfish”. Faced with such an open-hearted record, it’s impossible not to
reciprocate. And as the world opens up and Kenny Neal embraces his natural
habitat of the road, this Louisiana icon will bring a little bit of that Baton Rouge
spirit onto every stage he treads. “It don't cost nothing to share a little love and a
little respect,” he says. “And we can all rise above…”

In January 2011 Sam Prekop, Archer Prewitt, John McEntire, and Eric Claridge reconvened at Chicago"s Soma Electronic Music Studios to record their latest release The Moonlight Butterfly. This thirty three minute mini-album finds the band deliverying much more long form and cinematic pieces. The new songs lean upon the band"s more experimental tendencies, taking time to stretch the forms and in someways the new material relates to the way the band re-interpretes some of their songs live. With the band making a shorter than usual record they were allowed to take more chances and ended up with a release that leans a bit more towards the instrumental. Rather than having the vocals be the sole focal point the shifts in emphasis to other instruments facilitated a more open approach. The song "Weekend" from Car Alarm was kind of an unwitting blueprint for some of the new material. Especially the new song "Inn Keeping" where a synthesizer pattern became the armature for the song, a constant to play with and against. "Inn Keeping" is also quite a breakthrough for the band, sounding unlike anything they have done before and breaking the 10 minute mark.

CITY BURIALS - KATATONIA'S 2020 STUDIO OPUS OF ABSORBING,
SOARING PROGRESSIVE ROCK & METICULOUSLY CRAFTED DOSES OF
MELANCHOLY - SINGLE LP FEATURING NEW HALF-SPEED MASTER FOR
OPTIMAL SOUND QUALITY.Formed in 1991 by Jonas Renkse & Anders
Nyström & transitioning from early pioneers of the rising black/death/
doom movement to powerhouses of the progressive metallic rock genre,
the Swedish connoisseurs of melancholy returned in 2020 with their
stellar opus, 'City Burials' - the band's eleventh studio album & first since
2016's haunting 'The Fall Of Hearts'
With the winds of a new direction steering the band on their latest journey, 'City
Burials' stood as a triumph of deep & enigmatic progressive rock – the fruits of a
rejuvenating & profound chapter in the band's legacy & a catalyst for its creators.
Compiled into one of their most important modern works & statements to date,
the finely- honed instrumentation provides a multi- textured backdrop with the
voice of Jonas Renkse guiding us through these latest trials of loss & ruin.
The chemistry between Jonas, Anders & their band mates – bassist Niklas
Sandin, drummer Daniel Moilanen & most recent recruit, guitarist Roger Öjersson
– never sounded more potent, with 'City Burials' being the first album Katatonia
made since Öjersson became a full-time member.
Inspired by an injection of fresh blood into Katatonia's creative brew, 'City Burials'
helped Katatonia reclaim part of their heavy metal roots, via several moments of
exuberant, old- school classicism, deftly woven into these new songs'
kaleidoscopic fabric, resulting in an album that propelled the band ever further
into the spotlight.
'City Burials' was produced by Nyström/ Renkse & recorded at Soundtrade
Studios, Tri-Lamb Studios & The City Of Glass, throughout October & November
2019, with engineering work handled by Karl Daniel Lidén. The album also
featured a guest appearance by Anni Bernhard, the voice behind Stockholm
based act 'Full Of Keys'. Artwork appeared courtesy of Lasse Hoile, the image
itself representing the ongoing era of the Dead End King.
This edition of 'City Burials' is presented on single black vinyl, featuring a new
half-speed vinyl master for optimal sound quality.

In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

Progressive rock bent with a considerable amount of rock 'n' roll gospel
soul!
.Sanctuary's virtuosity is undeniable, and every song displays each
member's considerable talents
The album is abundant with soaring and passionate vocal arrangements that are
carried on high by the lively interplay of Norm Weinberg's percussive flurries as
they weave their way through a tapestry of flutes, strings, and guitars. Deeply
resonant keyboards set the foundation for the band's sound, and in fitting, albeit
unsuspecting, fashion, it is Eric Bikales' flute playing that shepherds the listener
through the album.
Beginning with "All In My Dreams," the flute's light and colorful timbre captures the
ear, serving as a clarion call for all to follow and creating moments of majesty, as
music and message seamlessly transform into one. Sanctuary's interpretations
of Yes's "Time And A Word" and Edgar Winter's "Winter's Dream" are not mere
covers. They are bright and bold musical statements, refusals to submit to the
negativity of the times. Their unique take on these compositions, as well as their
own, provides the kind of bright eyed anthems their generation's voice needed to
compete against the backdrop of war and social upheaval dominating the
headlines.

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam. GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist / vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change. On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs. Tracks: 1. Fairweather Friend 2. Dry Run 3. Easy On The Eyes 4. Crackdown 5.Just Because 6. By My Lonesome 7. I Let Someone In 8. Double Gettin' 9. Gone For Good 10. Fairweather Friend (Final Goodbye)

Australian art-punk combo Tropical Fuck Storm continues its hot streak of brain-bending releases with Moonburn, a maxi-single cassette on Joyful Noise Recordings. Side A offers the new song, "Moonburn," a ballad in the classic TFS style written and sung by Gareth Liddiard. Fiona Kitschin steps up to the microphone on "Ann," a cover of The Stooges that swaps Ron Asheton's scorching guitar part for a deranged sound collage of guitar freakouts, siren noises, and electronics. Side B includes an acoustic take on the fan-favorite song "Aspirin (Slight Return)" and a haunting cover of Talking Heads' "Heaven."

London has been fanning the flames of hardcore punk relentlessly, producing some of the best music of the genre for a while now. Enter Mastermind, four young guns kicking it up a notch or five. Starting in 2018, and after a well received demo on Cold Comfort, here comes their scorching new release, ‘Bad Reaction’ EP, on Quality Control HQ Records. Prepare to have your mind mastered in the art of the wildest hardcore songwriting, where a 3 minute song can keep you engaged throughout and doesn’t seem out of the norm. Karim Newble, also the resident artist of the band, takes you through the waviest of riffs that remind you of the crazy end of late 80s NYHC, from such legends as Rest in Pieces and Killing Time. Meanwhile vocalist Jon Osborne might be the long lost son of Jeff Perlin growling along to the rhythm section, seemingly out of control with one beat hook after another, pulling everything together. Genre: Alternative / Punk & Hardcore

For Fans Of... Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard. Debut 45 on Colemine Records. Featuring Alanna’s most-streamed track ‘Fall In Love Again’. Produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen. Tracks: 1. Fall In Love Again 2. Fall In Love Again (Instrumental)

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

As this album represents a spiritual return to a foundational past, sonically this record is likewise about going back to our fundamentals and our roots; when Eon and I were two kids with guitars in a bedroom figuring out some songs. Our last album, Mass, featured so many parts. We recorded it in New Orleans at Preservation Hall with a thirteen-piece horn section, percussionists, strings, etc. For the most part, it’s tough to find any guitar on the record. So we decided to simplify and reconnect with what inspired us. We kept the ingredients limited, the palate simple. We went back to our beginnings and rediscovered the joy of just playing on an acoustic, and a bass through a small amp, with a vocal. We spent our days like we used to when we were younger. We hung out and talked about music. If it was sunny we went to the beach. We played some tennis. Then in the afternoon we might play through some ideas. If it sounded good in the front room of the house, we took it to the studio.

"Fasten your seat belts - THE NEW ROSES are back! After touring with world famous artists like Scorpions, Saxon, Accept and Tremonti, the quartet around Timmy Rough will release their fifth studio album, entitled Sweet Poison, via Napalm Records on October 21, 2022. Musically, the band delivers stadium rock that would make the likes of Bon Jovi proud! With their most recent previous release, Nothing But Wild, the band entered the top 10 of the German album charts, but the band isn’t letting off the gas yet. Bevor they will embark on an extensive headliner tour in autumn, they will support none other than the legendary Judas Priest in June, Foreigner and rock icons KISS on their way to the top of rock! Their newest offering, Sweet Poison, starts off with the brilliant, guitar-driven anthem “My Kinda Crazy” providing a taste of what’s to come before blasting into authentic rock-meets-Americana tracks like “Playing With Fire” and “Sweet Gloria”. Massive track and album highlight “Warpaint” stages the band’s raw power with blazing guitar riffs and powerful drumming, while “The Usual Suspects” and “1st Time For Everything” convince as smooth sing-along hymns with catchy hooks. Tracks like “Dead Of Night” emerge with gloomy power, building atop a distinct melody and leading into a strong anthemic chorus, while THE NEW ROSES offer their softer side with songs such as “All I Ever Needed” – a mighty mid-tempo rock ballad showcasing the band’s vulnerability while reviving emotionality alike some of Guns N’ Roses most touching ballads. Frontman Timmy Rough passionately serves the full range of his voice on the track, also impressively evident on lyrically tender acoustic offering “True Love”. Sweet Poison is an outstanding rock album providing hit after hit and anthem after anthem, taking 80s retro rock to an extraordinary new level. Brace yourself as THE NEW ROSES shift into high gear, taking you on a ride towards the horizon of stadium rock!!

Folk Songs Of Black British Experience

PLEASE NOTE - LP RELEASE DATE IS 10th MARCH 2023
The Sorrow Songs: Folk Songs of Black British Experience is the
upcoming album by Cornwall-based folk singer, songwriter and multiinstrumentalist Angeline Morrison, her first record for the historic Topic
Records label
Produced by Eliza Carthy and featuring some of her beautiful, soaring
string arrangements, The Sorrow Songs was recorded in Cornwall at
Cube Studio and is a work of what she calls 're-storying'
"The traditional songs of the UK are rich with storytelling, and you can find songs
with examples of almost any kind of situation or person you can think of. But
whilst people of the African diaspora have been present in these islands since at
least Roman Times, their histories are little known - and they don't tend to appear
in the folk songs of these islands." Angeline Morrison began to wonder if she
could discover more about the lives of these ordinary and extraordinary Black
ancestors and create an album of songs in the sonic style of UK folk and
traditional music, in the hope that this silent space could then begin to be filled
with stories. With the help of Arts Council National Lottery funding, Angeline
began what became a year of research into this neglected area of Black British
history. The Sorrow Songs: Folk Songs of Black British Experience is the result.
Released to commemorate Black History Month in October, this powerful record
is intended to honour these Black ancestors who lived in these islands and to act
as a gift to the folk community.
The musicians on the album are: Cohen Braithwaite-Kilcoyne (anglo concertina,
melodeon, vocals), Clarke Camilleri (guitar, banjo, vocals), Hamilton Gross (violin,
vocals), Rosie Crow (piano, vocals), Alex Neilson (drums, vocals), Eliza Carthy
(violin, fiddlesticks, vocals), Martin Carthy (guitar) and Angeline Morrison (vocals,
autoharp, double bass).
In July 2022, Angeline Morrison became the fourth recipient of the prestigious
Christian Raphael Prize, which generously supports the development of emerging
talent in the folk genre.

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

Two leading Norwegian jazz artists have put together an excellent album
with just a microphone and a grand piano
On 'Movies & Stories Like This' they present nine self- composed songs about
intangible love. Hilde Louise's voice is elegantly accompanied by Anders Arums,
they cover everything from bolero and tango to French waltz and jazz ballads.
Piaf, Brell and Weill are evident sources of inspiration. Hilde Louise's lyrics span
both the minor and the major kinds of love, from everyday relationships, the ones
about which no films are made, but nevertheless carry with great drama, to the
big love stories.
Hilde Louise Asbjørnsen has released 11 albums since 2004 and continues to be
an important part of the Norwegian jazz scene. Her previous album 'Red Lips,
Knuckles and Bones' was released on Ozella Music to great reviews. She has
been described as "three parts Monroe and one part Holiday", and has nurtured
an extensive career as a cabaret- artist and a musical actress. Her latest solo
performance and book by the name of 'Stardust' is a tribute to 8 female legends
from last century. The show is a great success in Norway, and is to visit
Edinburgh Fringe Festival in 2023.

Chainska Brassika's third studio album, recorded, produced and mixed by
Grippa Laybourne of the Hempolics at South Street Studios
Chainska Tombonist, Lucas Petter was assistant producer with additional editing
from Toby Keel and James Howell. The album was put onto two-inch tape reel by
Prince Fatty and mastered in Canada by Jesse King 'Dubmatix'.

Ernesto Djedje is rightly known as the king of Ziglibithy and has been since not long after he first made his mark back in the 60s. He started out as a guitar player and leader of Ivoiro Star, before eventually going it alone and moving to Paris. He later returned to his native Cote d'Ivoire in 1974 and created his own musical mix of funk, soul, Makossa and disco before dying in odd circumstances in 1983. This Roi Du Ziglibithy, LP was first released in 1997 and now gets reissued on Analog Africa. One of his best-known works, it's a perfect example of his unique fusion sound.

Limitierte weißfarbige Vinyl-LP-Pressung. Version 2022. Skid Row sind darauf aus, ihren Rasen als Könige des Hard Rock zurückzuerobern und zu verkünden: The Gang's All Here! The Gang's All Here ist ein triumphierender Freudenschwur, voller euphorischer Energie, die uns nach mehr hungern lässt. Es ist der logische Sprung der nächsten Generation des charakteristischen Sounds der Band, der mit Sänger Erik Grönwall (ehemals von H.E.A.T., einem der besten Frontmänner dieser oder einer anderen Hardrock-Ära) neue Wege beschreitet. Produziert von Nick Raskulinecz, langjähriger Fan und gefragter Produzent (Foo Fighters, Rush, Alice In Chains, Halestorm, Evanescence), stehen Skid Row in Flammen. Sie werden wieder mit Energie versorgt, machen genau dort weiter, wo sie uns dazu gebracht haben, mehr zu wollen, und kicken ihren Sound bis hin zu modernen Hardrock-Königen.

The ‘A Day At’ concept, from Parallelle, started in 2017 when they were helping their uncle in his leather factory, manufacturing belts. The variety of melodic sounds during the manufacturing process, from small tools to big machinery, quickly became the soundtrack to their day and the inspiration behind their very first song – The Factory.

Little did they know it would lead them on a sonic expedition to explore places where unexpected sounds became the centre of their musical pieces. A carpentry, a ski station, a supermarket, an airport, or a kitchen were their creative playground. The sawing of wood, the chopping of carrots, the rustling of plants, the click of a ski-shoe and the shaking of quinoa are just some examples of sounds that inspired their creativity.

After years of gathering sounds and composing the basis of their album. They teamed up with conservatorium musicians Nicolo Ricci on Sax tenor, Alessandro Mazzieri on Base and Simone Cesarini on Guitar who helped them sculpt the final touches to the album.

A fusion of jazzy vibe with concrete sound recording and electronic elements is the foundation of their first album “A Day At”

Between electronic music and traditional Indian music, dive into the heart of this subtle mix thanks to the leading artists of the genre!

Mando Diao is back on full effect having played all the major rock-festivals across Europe in summer 2022 including Southside and Novarock. Just before the summer-season they rolled out the first in a series of volumes with sizzling hot and high octane ROCK fresh of the studio. Vol 1 produced the radio-success "Frustration" that managed to climb all the way to No 2 at rock-radio in Germany. Now we are happy to announce Vol 2 to drop 23rd of September having parts of the band in Hamburg for an exclusive and personal 20 YEARS OF MANDO DIAO panel during Reeperbahn Festival. The lead-track "Primal Call" is a hippie-like sounding one that draws inspiration from Led Zeppelin and King Crimson, a much punkier version. No logic whatsoever in the changes throughout the track but hey, that's how the band likes it. Full of surprises. As if the producer was a total lunatic out of control. "Fire in the hall" is a short, intense song written by Björn and Jens. Once again, a blend of primitive rock'n'roll feel and electronics. For example, the drums are based on samples of Patso's drumming. The lyrics are simple and almost trivial, with a "La Vida Loca" vibe: start a great fire, for yourself and others. Most things can be solved with a cleansing dance - both in reality and in lyrics. "If you write the lyrics together with someone, it's easier to avoid becoming pretentious and over-analytical," they summarize. Finally, "Charlie", about their current producer (Charlie Storm). One of the greatest there is having worked with so many big releases (Roxette, In Flames, Hurl etc). At least partly. They were excited about him and felt that he deserved a song. Or maybe they didn't have anything else to write about. Everyone had different inputs, but it ended up being a pure rock'n'roll song. And a real banger.

The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

Stratton returns to Of Paradise for the label’s 20th release. Chalking up a hat-trick of EP’s on the imprint, with the impeccably effective ‘Never Bettered Always Battered’. Arguably his most accomplished and significant release to date, this 4-tracker effortlessly showcases the London-based producers expertly distilled and patented style of evocative and headstrong UK hardcore.

The A-side launches with the anthemic ‘Badboy’, a true floor melter, loaded with tunnelling drums, an electric bassline and a criminally infectious chopped vocal. Following that is ‘Double Happiness (Bludclot Mix)’, a lethal dose of no nonsense proto-rave goods, emanating from the streets of North London. The product of a truly skilled operator who fully understands the inner workings of the kick, hoover and piano.

‘Bless’ kicks off the flip side with effortless momentum. The impetus clearly focused on rupturing bassbins and rewiring brains, with its weapons grade drums, growling bassline, lethal Amen break, euphoric melody and rabid hoover.

Closing out the release is ‘Vapour Trail Hurricane’ another system-rushing slice of hardcore mastery that pulls no punches in its pursuit of dance floor dominance. Fuelled by a hammering kick, sharp sirens and swirling acid lines, these are the final moments before imminent self destruction.

This is true peak-time pressure from one of the UK’s most exciting and inimitable talents.

Fabrice Lig has melody running through his veins. On his quest to explore his deep love for the bitter-sweet yearning of Motor City techno, his tracks transcend trends. Over his three-decade spanning career he has refined his blend of soul-infused dance music to striking effect. His gift for a catchy hook is unmatched. His new studio album "The Mental Bandwidth" shows his musical range as a producer once again. On the album's twelve tracks, he effortlessly traverses, cosmic house, funkified techno and electronica, combining his trademark quirky melodies with playful songwriting and dance floor focused beats. The album format is giving Lig enough space to explore his musical ideas from different directions while staying true to the overall atmosphere. "The idea for the album was to go back to the fundamentals of the original Detroit sound and to find new ways of expressing that soul in my music - as I've been doing for years", explains Lig. With Ann Saunderson and the former Kraftwerk-member Wolfgang Flur, the album features two heavy-weight collaborations that connect the "The Mental Bandwidth" to Detroit's musical legacy, too. Slikk Tim aka Garry Grittness also has a cameo in the form of a funky bassline on "Healing", the pop-infused Ann Saunderson collaboration. The title of the album is inspired by Lig's lecture of Sendhil Mullainathan and Eldar Shafir book "Scarcity: Why Having So Little Means So Much" which explores new approaches to reduce poverty. "The authors discovered that the mental bandwidth of poor people is sometimes really low because of short term issues they are facing and are forced to solve", explains Lig. Those issues are reducing the mental bandwidth for long term thinking capacities, which in turn has consequences for the decision making process. An example: before the quality of education of poor kids is increased, the quality of life they have must be increased. This increases the capacities of the kids to learn more than solely better educational programs.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Driving electro tracks by Detroit Grand Pubahs and UR member Bileebob. Comes with a solid acid infused Derek Plaslaiko remix. "Bileebob was living in the lofts at 1217 Griswold when I first met him, this is one of the seminal places that the post Music Institute Detroit scene grew out of. People who lived there performed or threw parties in their lofts for rent money, other people living at 1217 included Buzz Goree, the founders of Paxahau, De3n System. Bileebob's an amazing and unique part of the Detroit scene, having created music and art for years, performing locally and internationally as a member of the Detroit Grand Pubahs and UR, releasing on Underground Resistance, and had a regular zine for so many years. When he sent us the promo for "Star Cross" from his personal Bandcamp page, we loved it, and for the second No Way Back stream both BMG & Derek ended up playing it. We just loved the song, so we asked him if we could give it the full release, and we had Derek Plaslaiko remix it. We've included an unreleased amazing tough electro mix of "Network", a song currently on his Bandcamp page. Digitally we've included another more raw mix of "Network" and an after the after party 1217 kind of comedown jam "Club Kid Up All Night"."

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.