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“I wanna wake up brand new” Enumclaw lead-singer / guitarist Aramis Johnson sings to begin Save the Baby, their massive-sounding debut full-length, out via Luminelle Recordings. The album is a swing for greatness; a collection of life-affirming and deeply personal songs about the importance of chasing after your dreams. Enumclaw is Aramis, guitarist Nathan Cornell, drummer Ladaniel Gipson, bassist (and Aramis’ younger brother) Eli Edwards. Working alongside producer Gabe Wax (Soccer Mommy, Crumb, Fleet Foxes), Enumclaw's Save the Baby delivers an album where on each track the band plays with dynamics while taking their songwriting to the stratosphere. Save the Baby is an album about stepping into your purpose, about the determination it takes to not give up on yourself in the midst of heartbreak and setbacks. It’s not a stretch to imagine a younger version of the band getting a glimpse of the future and freaking out by knowing their destiny of making it as a rock star has landed on their doorstep. For fans of all things J Mascis / Dinosaur Jr, Built to Spill and all things 90's Pacific Northwest.

Greg Puciato, the enigmatic singer known for his diverse list of projects, from the incendiary The Dillinger Escape Plan to the brutalist electro-pop outfit The Black Queen and the unabashedly thrashy Killer Be Killed, releases his debut solo album, Child Soldier: Creator of God this Autumn via Federal Prisoner. The Los Angeles-based singer premiered the single “Fire For Water” on BBC Radio 1’s Rock Show with Daniel P. Carter and followed with the debut of a video for the three-minute track via Revolver. The video was edited and directed by Puciato and fine artist Jesse Draxler, Puciato’s Federal Prisoner co-founder. Puciato played all of the instruments on the song with the exception of drums, which were done by Chris Pennie (the last original material the pair worked on together was The Dillinger Escape Plan’s 2004 Miss Machine), who also contributed additional programming. “I started writing in May or so of 2019, for what I thought would be the next Black Queen album, except that’s not at all what came out. So, just like with everything else that’s been born from necessity, it felt like the right time to create a home for anything that I do that didn’t fit neatly under any other existing roof. The misfits needed a place to go,” explains Puciato about releasing his first solo album.

Beneath the Massacre hit a sweet spot on this EP, avoiding several banalities and pitfalls that the genre is known for. There isn’t an obnoxious overuse of directionless wank and breakdowns. In fact, both are put to use as good songwriting techniques in applying some semblance of dynamic. The songs always seem to have a purpose and a realized direction. Marée Noire just feels right on just about every level. The production lends to a beefy and chaotic atmosphere where the low, thundering riffs and blasts of double-bass will certainly put subwoofers and good headphones to ample use. Beneath the Massacre provide what is in my opinion the right kind of brutality and heaviness. – HeavyBlogIsHeavy

Finnish Disco and Electronic Music from Private Pressings and Unreleased Tapes 1980–1991

Hot on the sold-out heels of the three previous Svart-issued early 80’s synth pop and underground electronic music compilations (Satan in Love, Dance For Your Life, Cold War On The Rocks comes the last part of the quadrilogy: Black Hole, that reaches the final frontier of collectable cult synth disco music: privately released and completely unreleased music from 40 years ago. Black Hole has been again compiled by Mikko Mattlar, whose encyclopedic knowledge in the field of Finnish electronic music produces 20 cuts of electro-cult has helped him dig up 20 cuts of rare groove from obscure regional compilation records, seven inches of which only a test pressing exists, demo tapes and privately financed singles. Stylistically the compilation moves from 1979 disco funk as performed by Peak Funktion on their unreleased record to homebrewed synth visions by late 80’s bedroom wizards. Interesting curiosities among the 20 tracks include the riveting dance number by Jarkko Väljä, who received some fame back in the day as a Michael Jackson impersonator, and released one 7” single, that has become an expensive rarity. Another thing you wouldn’t believe existed at all if it wasn’t included here is “Israel Is Real” by We, a short-lived gospel vocal quartet, accompanied here by a drum machine and a synthesizer, which makes for an unforgettable and surprisingly catchy four minute piece of underground gospel disco from 1983. The compilation Black Hole – Finnish Disco and Electronic Music From Private Pressings and Unreleased Tapes 1979-1991 will be released by Svart Records on double vinyl and CD on October 14th.

IN 2002, THE INAUGURAL CHRISTMAS GRASS album was born with instrumental interpretations of the greatest Christmas songs of all time, performed by some of bluegrass music’s favorite performers. As the series expanded to Christmas Grass, Volume 2, in 2004 and Christmas Grass, Volume 3 in 2007, the stellar cast of performers grew to include Grammy award winner Alison Krauss, IBMA Entertainers of the Year Jamie Dailey and Darrin Vincent, the legendary Doyle Lawson and musical icon Dolly Parton. This new compilation, CHRISTMAS GRASS: The Best Of, brings the best of those 3 volumes into one incredible holiday package.

Balamii resident and Sticky Tapes-founder Theo Everyday arrives with a huge debut on Cheeky Sneakers, seamlessly blending the worlds of jungle, electro and trance with his signature sauce of nostalgic and futuristic hyper-funk.

Having curated the Sticky Tapes mix series and label - supporting music from artists such as Stones Taro, Om Unit, Jossy Mitsu and Lobster Theremin label head Asquith - the DJ and producer knows a thing or two about merging differing styles and energies. The Holsten FM EP plays out like a three hour club set; placing classic UK sounds at its foundation and throwing multi-coloured paint all over them.

'The Way You Feel' makes use of the pitched-vocal, SoundCloud hyper-pop aesthetic with hardcore-piano stabs and heartstring-tugging cheese wrapped within a huge low-end swinging bassline. A great lights-up tool to leave them with a smile on their face. The classic rave energy is maintained on the EP title track - a stripped-back cut of ragga jungle-step that's as meditative as it is devastating.

From golden-era rave and jungle future-mutations to heads-down club sounds, 'Every Body's Talking (Well Let's Talk)' is a strobe-light power sequence for when things are in full swing, before 90s breakbeat and trance join forces on a 'Six and Two Threes' hands-in-the-air moments.

Breaks-littered dream sequences that feel like a warm hug follow on 'Summer Lie In' - its chopped melodies and stirring atmospherics causing ripples within the pond of paradise - before 'Mod Cons' closes with a squelching cut of acid-electro on a killer digi-only exclusive.

Welcome to Retropolis! Known for the inimitable Can’t Stop with Coloray, an unhealthy obsession with vintage music machines, a baroque style in the use of synthesizer melodies and a forewarn-looking approach to the past, Chris Barratt’s music as Eagles & Butterflies can be as fun-loving as melancholically beautiful. For his long overdue debut on Running Back, the english man dishes out a bit of both in a healthy bowl of broth.

Retropolis is not only the direction giving title, but bold and bonny at the same time. That its working title was Italo should tell you all you need to know. Suitable for big rooms, major moments, minor miracles and sophisticated car chase scenes alike. Faster takes off in another direction. Imagine two people falling in love during a bumper car ride – heartfelt vocals included.

On the flip side E&B follows a similar state of equilibrium. Like the highs and lows and ups and downs in a John Hughes movie, it also showcases the characteristics of two synthesizer classics: the exuberant piano version of Juno Ninja (please look at the digital release for a version devoid of it) offsets the poignant and plangent vibe of CS-80. In summary: made with lots of synthesizers and for fans of keyboard music. And always keep in mind: the future sounds and looks better than you think!

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice Two: Still Buggin' is finally available to fans everywhere. The second in a series of EP releases, Lice Two: Still Buggin' featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice features production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish.

Unlearn is the long awaited fourth album of DJ and producer 2econd Class Citizen. It marks the artist's return back to the newly relaunched label Equinox Records. Their previous collaborations achieved high acclaim for their genre bending fusion of hip hop, electronica and folk music.

The new album is an exploration of an artist journeying beyond their conventional confines. It is a musical adventure peppered with vintage samples concerning the perception of reality and our struggles with conforming to a broken society.

Unlearn is the most musically accomplished work of 2econd Class Citizen to date. As one would expect the drum programming, scratching and production is on point. Several tracks feature soothingly melodic and energetic passages of jazz saxophone from Leroy Horns and electric guitar riffs provided by long term collaborator Paul Drury.

2econd Class Citizen, real name Aaron Thomason, resides in Brighton, UK. He is also a painter and visual artist fascinated with abstraction and the chaos of mixing colours. His musical approach on the new LP draws many parallels to this creative process. An original painting from the artist forms the albums striking cover.

Equinox Records is run by DJ Scientist in Germany. The Unlearn project marks the 51st release and provides the perfect launch vehicle for the dormant label to rise again. The vinyl release of Unlearn as well as the single Be Together signify the first stops in a release plan which will please fans of the label.

FEEDBACK:

"Woah! It's sounds rad! Really heavy and cinematic!"
Kid Koala

"A dark and deep dive into a world of dense and diced samples and moody muted melodies. Would sit well next to Shadow's freakier forays into fractured funk. Or Format's last psychy LP, for sure."
DJ Moneyshot of The Allergies

"I love it. The new treatments with the additional instruments sound great, especially the horns. Glad to see that Equinox is back in action. Dope cover art."
Dday One

"It sounds like 2econd Class Citizen has been at a mountaintop retreat studying and meditating and came back with some superpowers."
Buddy Peace

In August she is releasing her solo debut "Changes Like the Weather in the
Mountain", consisting of her songs wrapped in electric guitar, wurlitzer, fiddles
and some high- pitched choir voices. Selma's music reveals an admiration for
Norwegian and English folk music, as well as containing an airy energy from
somewhere unknown – moving from an open space like big mountain into the
hidden rooms in one's heart.Selma is already known in the folk-scene in Norway
as a member of bands such as Norwegian Grammy nominated Masava and
Norwegian Grammy winner Morgonrode. She has toured and worked with artists
like Frokedal & Familien, Kristian Kristensen, Siv Jakobsen and the Switch. Her
musical work has been acknowledged by many, lastly featured as the theme song
in the Viaplay series Furia.
Growing up in the suburban university town of As, Selma French was exposed to
folk music from an early age, playing violin and Hardanger fiddle all her life, as
well as making songs on guitar. The list of musical inspirations is long, from
Linda Perhacs, Nick Drake, Fairport Convention and Judee Sill, to Frokedal,
Susanne Sundfor, Sandy Denn and The Roches.
Artists:
Selma French: vocals, acoustic guitar
Anja Lauvdal: synths, wurlitzer
Christian Winther: el-guitar
Andreas Winther: drums

Embrace have announced their eighth studio album 'How To Be A Person
Like Other People' will be released on their own Mo'betta label
Talking about the album, Richard said "Whenever we put out a new album it's
always a really big deal to us, we put everything we have into it. We know that
there's something about what we do that people love, that they just don't get from
other bands. It's like a pact, they want us to be intimate and personal and
autobiographical, but they also want us to be confident and rousing and
anthemic. It sounds like a contradiction, but I think when we're at our best we
somehow pull it off. I think in that sense this album is the most Embrace album
we've ever made".
Meanwhile the band have announced tour dates in support of the new album,
including their biggest London show in over 17 years at Brixton Academy on
Friday 9th September, a venue the band last played in 2005.
Produced and mixed by Richard McNamara at Magnetic North Studios the new
album is the follow-up to the band's 2018 Top 5 album, Love Is A Basic Need.

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.)

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

The latest album from Randy Randall, guitarist and multi-instrumentalist
of tireless Los Angeles experimental punk duo No Age, Sound Field Vol
2020, continues the iconoclastic weirdo ripper's series of audiovisual
urban excursions in a contemplative set of ambient compositions
exploring the abandoned expanse of pandemic-era Los Angeles
"Vol. 2020 is named as such (and not 'Vol. 2') because of the massive psychic
shift that occurred at the beginning of the global pandemic and subsequent
lockdown," says Randall. The project took root in the earliest days of lockdown, as
the absence of perennial, man- made din revealed the secret lives and hidden
contours of the world without us: The cacophony of birds on empty boulevards;
the rhythmic click cycles of unmanned escalators; PA announcements
reverberating back into themselves across abandoned transportation terminals;
nocturnal choruses of wildlife reverberating across hillsides under a planeless
sky.We listened inwards, too, recontextualizing ourselves as we reckoned with an
abrupt and collective halt never thought possible in our lifetime, as if someone
had pressed mute on the world. Little did we know what would come. With no
choice but to confront the present, we gave ourselves over to a brief moment of
fear mixed with wonderment, alone, together.

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

Portsmouth post punks Hallan reveal their
pulsating new single, ‘Sich Übergeben’, via Nice
Swan Records (English Teacher, Sports Team,
Courting).
The track is a study in perpetual motion, caught
between an exhilarating swagger and a drunken
lurch. Built around a spiralling, infectious synth
lead line, rolling bass and drums, and skittish
guitars, this all provides the backbone for Conor
Clements’ visceral vocal spitting.
It tells a tawdry tale, examining the propensity for
unhinged views born of banal insularity. As the
band explain: “A father hiding behind a screen, a
family watching the Queen’s jubilee and a wife
leaving her unloving husband for a new life in
Spain. We’ve seen all of these people and we
know them too.”

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.

Newly remastered from the original vinyl at Gearbox Studio with extended
liner notes and new information, The Joe Harriott Quintet’s ‘Swings High’,
recorded in 1967, saw Joe returning to his hard bop roots on a set that
burns with a rare light
A top band of British jazz players, including the UK’s greatest drummer, Phil
Seamen, and the sensitive and less-known-than-it-should-be trumpet playing of
Stu Hamer, create a session that transcends the difficulties of its recording to
create a timeless session, and from the point of view of pure playing, one of Joe’s
very best.
Joe Harriott: alto saxophone
Coleridge Goode: bass
Phil Seaman: drums
Pat Smythe: piano
Stu Hamer: trumpet
“Joe plays so fiercely on the record that at times it seems as though he’s about to
blow his alto apart.” - Coleridge Goode
“Shepherd's Serenade always a big one! great reissue.” - Gilles Peterson
"Some might say that this music is old- fashioned. If you’d call Bird and Fats
Navarro playing “Ornithology” old-fashioned, then this is too. But it’s still strong,
warm music played with skill and feeling, and that’s enough for me." - Richard
Williams (1970)