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2002-2022, that’s 20 years of Pingipung! The German record label celebrates its anniversary with exclusive tracks by a fine selection of artists from the label roster as well as new names. Instead of looking back at the classics, Pingipung chose to compile a kaleidoscopic preview of possible future directions for the label. The line-up features playfully melancholic songs by Museum Of No Art, Peter Power or The Notwist, an excursion to the desert by RVDS or a psychedelic take on Dub in Tolouse Low Trax’ remix for the Ainu singer Umeko Ando. Artists such as Anadol, Y Bülbül, MD Pallavi & Andi Otto, M.RUX, Sven Kacirek, Schlammpeitziger, Peter Presto and F.S.Blumm are already well known to the Pingipung audience. They contribute exclusive new tracks, adding to their existing output on the label.

It’s impossible to file this compilation under a genre, which is exactly the case with Pingipung in general - bull’s eye. The collection of tracks is pressed in the perfect format to match the Pingipung jubilee: A 2x10’’ vinyl in a gatefold sleeve.

Option Explore, Dylan Moon’s second full-length album, is a glassy-eyed survey of pop’s playing field both past and present, and a collection of clever, colorful songs filtered through frequencies, timbres, and dreams discovered and discarded while its maker shifts from one sub-genre to the next.

Option Explore signals a significant departure from Moon’s debut 2019 album Only the Blue s, which at its heart is a folk record from the forlorn fringes of psychedelia: a little mysterious, but ultimately lucid in its internal logic and generous with standalone, but sing- along, songs. Dylan’s 2020 EP Oh No Oh No Oh No suggested both a shift in his writing and listening habits, culminating with the 2021 compilation Moon’s Toons Vol. 1. On Option Explore, Moon willfully spins multitudes. With a careful study of synthpop, a penchant for warped yet unwavering guitar grooves, and an effortless songwriting ability, he leans into unlikely convergences, and arrives at something deeply futuristic in its disregard for genre sanctity.

A guiding principle for Option Explore was the “explore/exploit trade-off” concept, a behavioral mechanism of foraging (“the choice between exploiting a familiar option for a known reward and exploring unfamiliar options for unknown rewards”) which has been employed within computational neuroscience and psychiatry. Moon uses exploratory foraging as a manifesto for song construction: music without end, without limit. Many of these songs avoid conclusive compositional conventions, and sound more like turning a radio dial than pressing preset play. Tracks begin at what feels like a midpoint and fade out with little warning, adding to the sensation of sonic melt.

Option Explore, Dylan Moon’s second full-length album, is a glassy-eyed survey of pop’s playing field both past and present, and a collection of clever, colorful songs filtered through frequencies, timbres, and dreams discovered and discarded while its maker shifts from one sub-genre to the next.

Option Explore signals a significant departure from Moon’s debut 2019 album Only the Blue s, which at its heart is a folk record from the forlorn fringes of psychedelia: a little mysterious, but ultimately lucid in its internal logic and generous with standalone, but sing- along, songs. Dylan’s 2020 EP Oh No Oh No Oh No suggested both a shift in his writing and listening habits, culminating with the 2021 compilation Moon’s Toons Vol. 1. On Option Explore, Moon willfully spins multitudes. With a careful study of synthpop, a penchant for warped yet unwavering guitar grooves, and an effortless songwriting ability, he leans into unlikely convergences, and arrives at something deeply futuristic in its disregard for genre sanctity.

A guiding principle for Option Explore was the “explore/exploit trade-off” concept, a behavioral mechanism of foraging (“the choice between exploiting a familiar option for a known reward and exploring unfamiliar options for unknown rewards”) which has been employed within computational neuroscience and psychiatry. Moon uses exploratory foraging as a manifesto for song construction: music without end, without limit. Many of these songs avoid conclusive compositional conventions, and sound more like turning a radio dial than pressing preset play. Tracks begin at what feels like a midpoint and fade out with little warning, adding to the sensation of sonic melt.

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

The debut album from Jack Flanagan, currently best known for his work as a member of the Mystery Jets. ‘Jack Rides The Sky’ is a magical coming of age record that comprises of 12 tracks written over the last decade, some finished and some left as initial sketches of ideas. As brutally honest as it is escapist and romantic, ‘Jack Rides The Sky’ is a body of work that signals the arrival of a unique, poetic talent finally stepping out on his own and releasing the extraordinary songs that have been parked on his laptop for the last 10 years.

Mo Troper is truly one of a kind, and that’s never been more apparent than on his fifth full-length, the winkingly titled MTV. Arriving hot on the heels of his 2021 full-length, Dilettante, the album finds the Portland, OR-based power pop extraordinaire diving further into home-recorded immediacy to make a record that feels like a strikingly direct conduit to the world of Mo–where heartbreak, hilarity, and hooks all go hand-inhand.

MTV hurtles through 15 songs in just 31 minutes, with most of the tracks never even coming close to the three-minute mark. The sequence feels like a combination of a fever dream and a travel diary, intertwining tales of romantic longing with the ups and downs

of cross-country touring. Songs like “Across The USA,” “Royal Jelly,” or “Coke Zero” unravel the headaches and heartbreaks, often alternating between unflinching emotional details and legitimately funny one-liners. “I feel like I’m just in this mode of rebelling against the expectation for artists to be emotionally or aesthetically cohesive,” Troper says. “I think about all my favorite records and songwriters, and they’re often these people who would have really depressing stuff and then insane moments of levity that don’t get talked about as much. I want to make music that’s emotional but also campy or sarcastic or resonates in other ways. I’m like, ‘you know what, it’s all me.’”

Orange w/ black marble vinyl. 180g. To celebrate their seventh anniversary, Black Screen Records have once again teamed up with Oddworld Inhabitants to release the soundtrack to Oddworld: Soulstorm - the explosive second game in their brand new Oddworld Quintology - on limited edition 180g vinyl. Composed, mixed and mastered by the American EDM DJ and producer Josh Gabriel - you may know him from his work on the Oddworld: Abe's Oddysee soundtrack - the official soundtrack comes on limited edition 180g orange/black marbled vinyl in a full-coloured gatefold sleeve and includes four intense ambient bangers from the latest installment of the Oddworld series. All tracks have been remastered for the vinyl format by Christian Bethge. "Josh's unique music has been the ideal soundtrack to Abe's story since its very beginning. This selection of completely original tracks are a clear progressive evolution of that sound, which is a perfect match for the expanded ambitions of the game itself." - Lorne Lanning ABOUT THE GAME: Oddworld: Soulstorm is the explosive second game in a brand new Oddworld Quintology that tells the continuing story of Abe and his comrades as they discover further crimes against Mudokonkind and look for the spark that will ignite a revolution.

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

King Gizzard & The Lizard Wizard are repressing their sixteenth album, K.G. n 2010. In the wake of a global pandemic, it’s a collection of songs that saw the six members of the band retreating to their own homes scattered around Melbourne, Australia to compose and record remotely. But have no fear! Not a drop of that unnamed alchemical something that makes this band so special is missing. This is the Gizz firing on all sonic cylinders, for if ever a band were built to swiftly adapt to adverse circumstance then it is them. Hell, on paper Covid-19, with its monstrous yet unseen face, ecological implications and new language, even sounds like an abandoned concept for a King Gizzard & the Lizard Wizard album.

Truth be told, the practicalities of the creation of K.G. is a side-issue. It is the contents and the sheer visceral power of music that matters. Music that will live on long after a virus has passed. Back in 2017 the band released Flying Microtonal Banana, now one of their most highly regarded albums. That it was the first of five released by the band that year and was only part the story – a story made all the remarkable by the fact it was recorded using a microtonal musical scale that requires quarter tone tunings, on instruments custom-made for the occasion. It spawned a plethora of live favourites such as ‘Rattlesnake’, ‘Sleep Drifter’, ‘Nuclear Fusion’ and ‘Billabong Valley’ and showed the wider world that the Gizz paint from a palette that extends far beyond the musical colours of western rock. Here were songs in tunings more common in traditional Turkish or Arabic music.

“FMB was one of the purest and most enjoyable recording experiences we’ve had, and the ideas just kept coming” explains de facto band leader and multi-instrumentalist Stu Mackenzie. “But we didn’t think we would play it live as the music dictated a new medium that requires different instruments, new flight cases and so. It was a liberating studio-based experiment which surprisingly translated seamlessly and spawned some of favourite songs to play live.”

So now they return to the microtonal tunings on K.G., an album best described as a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes and via defiantly non-Western rock scales. There’s walk-on theme song ‘K.G.L.W’, the celestial disco-funk of ‘Intrasport’, the righteous life-giving staccato rock of ‘Ontology’, epic stoner-sludge closer ‘The Hungry Wolf Of Fate’, which ends the album in abrupt burst of white noise. All come together to represent the next-level of the expanding Gizz sound.

K.G. is both a stand-alone work and also part of a bigger musical picture. More news on that shall be forthcoming – fans of the band know by now that King Gizzard don’t do things by halves. If music were organic matter, then their albums are ever-changing entities: initial highlights are often superseded on further exploration, favourite tracks replaced by less obvious moments, while riffs or bursts of noise from four or five albums back might suddenly rear their heads again.

After 11 years of existence, Gratitude Trio releases on September 2nd, 2022 its 4th album " Birth" on the remarkable Belgian label W.E.R.F. RECORDS in partnership with Mercury and Collectif Koa from Montpellier, France.

Protagonists Jeroen Van Herzeele (sax, analog synths), Alfred Vilayleck (electric bass, fx) and Louis Favre (drums, fx) worked for more than a year on this new album, continuing to develop the musical framework of the previous album: a blend of sensitivity and groove, contemplative vocals and raging solos.

Mixing acoustic and electronic sounds, the compositions of reflecting realities that inhabit them: to let oneself be touched by the beauty and the dark sides of life, to be amazed by nature, to accept what we cannot change, to create bonds, to commit ourselves to fulfill ourselves.

Music that is both sophisticated and organic, with an energy and boldness that characterize them.

Gratitude Trio is a Belgian/French band based in Brussels known for their strength and sensitivity that open people's hearts. The music of this power trio is tinged with spacy sounds, African rhythms, sexy grooves, endless trances, sensitive ballads, crazy free jazz, and a large dose of unpredictability. Gratitude exists since 2010 and has performed in prestigious venues in Europe. Their two first albums «Gratitude» and «alive» released in 2012 and 2015 under the label El Negocito Records have been very well received by the critics and the enthusiastic audience. The 3rd album «Gratitude III» was released in April 2018: new sound, new approach, but same soul. Gratitude Trio impressed! Indeed, voices and EWI (Electronic Wind Instrument) enrich the sound palette while the musicians have developed a new way to create together.

The brand new 4th album "Birth" is an absolute masterpiece, a synthesis of a decade of adventurous musical explorations.

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

Available on trans blue vinyl with gatefold sleeve. Following the UK chart success & critical acclaim of their last full-length studio album ‘In Vino Veritas’ this new album is another incendiary, 111% proof, guitar-fuelled, alcohol-soaked adrenalin shot. Tyla’s trademark songs of hope & heartache, demons & debauchery and conflict & chaos are taken to new heights by a band in full flow. Big choruses are delivered with power. Tender hearted lyrics with emotion. Track listing: Tree Bridge Cross; Journey to the Centre of the Soul; Stole my Love Away; God Only Knows; Angel Lane; Buried Alive; Raining Fire; Powder Dry; Moth to the Flame; Ghosts - CD Disc 2: Tree Bridge Cross (Acoustic); Journey to the Centre of the Soul (Acoustic); Stole my Love Away (Acoustic with Spike); Angel Lane (Acoustic); Buried Alive (Acoustic); Raining Fire (Acoustic); Powder Dry (Acoustic); Moth to the Flame (Acoustic); Ghosts (Acoustic)

. One of the first Grunge Records ever released. Sourced from the original 1985 Master Tapes. Includes Unreleased Bonus Track. Mark Arm & Steve Turner of Mudhoney, Jeff Ament & Stone Gossard of Pearl Jam. Features Studio Master Tape Box image w/ lyrics. Released in 1985, Green River “Come On Down" was a record existing in its sonic universe out of step with its own time. Was it glam? Was it punk? Was it metal? Was it cool? We now know it was one of the building blocks of what Mark Arm would coin as "grunge" but in 1985 this record was a silent groundbreaker. It was not only the raw, sludgy, slower guitar sound that makes this band important in its place in rock history, but the members of Green River would go on to lead some of the biggest names in the genre: Mudhoney and Mother Love Bone, the latter of which also contained the roots of Pearl Jam. The record includes the iconic original cover artwork, now pressed on black vinyl, and includes a printed inner sleeve with lyrics and photo of the original master tape box, plus an unreleased rare bonus track!

Sababa 5 sharpens their euphoric Middle Eastern psych sound into an infectious four-track EP, featuring vocal revelation Shiran Tzfira, recorded here for the very first time. Together they reinterpret the traditional Yemenite songs of Shiran’s childhood into modern and irresistible blends of disco, funk, boogie, pop, and rock.

Tel Aviv based four-piece Sababa 5 is a supergroup of musicians from the local scene, steeped in psych rock, funk, the traditional Yemenite music that gave birth to popular Mizrahi Israeli music, and traditions from across the Mediterranean and the Middle East that have long blended into one another. Between them, they have played with everyone from the Hoodna Orchestra, Tigris, and Kutiman Orchestra to widely known vocalists such as Gili Yalo, Ester Rada, and Liraz Charhi.

Sababa 5’s catchy instrumentals and popular songs such as “Tokyo Midnight” have gained attention from the likes of BBC 6 Radio Music’s Gilles Peterson, Cerys Mathews, and Gideon Coe, Rashad “Ringo” Smith, and France’s leading purveyor of alternative sounds, Radio Nova.

Growing up in a traditional Yemenite Jewish household, Shiran Tzfira was heavily influenced by both the Jewish and Arabic traditional songs that play a major role in Yemenite culture. But her soulful, soft, yet powerful voice betrays a love of not only singers of Yemenite heritage, such as Ofra Haza and Balqees but also Western artists such as Stevie Wonder and Erykah Badu. Subsequently, Shiran has gained many fans in the Arab world, especially in Yemen, where she has been dubbed the Israeli Balqees”.

Chicago-based guitarist / composer Eli Winter's new self-titled album
finds him building on the promise of his recent records - like 2020's
Unbecoming and his 2021 collaboration with Cameron Knowler,
Anticipation - with a gem of an album on which he leads an ad-hoc group
that delicately balances a range of colors and moods
Winter is an accomplished player with impeccable technique and an unassuming
virtuosity, capable of both mesmerizing intricacy and florid romanticism, but on
Eli Winter he frequently plays a supporting role, creating ample room for his
collaborators. The result is the sound of an artist escaping any lingering shadows
of his primary influences and coming into his own; ironically, Winter does this by
deemphasizing his role as traditional bandleader. Assisted by a murderer's row of
peers and contemporaries including Cameron Knowler, Yasmin Williams, David
Grubbs, Ryley Walker, Tyler Damon, jaimie branch, and others, Eli Winter
showcases a compositional depth and authoritative skill only hinted at on
Winter's rightfully acclaimed previous work. Highly recommended.

Compilation of singles recorded for Glass Records. Pressed on Yellow vinyl with orange & black splatter. Includes printed inner sleeve with posters and postcards
Religious Overdose formed in 1979 and alongside the likes of PIL, Joy Division and Bauhaus helped forge the sound that became to be known as post-punk. In just 2 years their experimental songs were pushing boundaries. From the hypnotizing drum machine led debut “25 minutes” and the krautrock influenced “I said go” to the synth infused new wave of “Blow The Back Off” and their final single. The sprawling 7 minute “The Girl With The Disappearing Head” This is a celebration of the much underrated and important Religious Overdose.
Formed in Barby (near Rugby) in 1979, original vocalist left, ALEX NOVAK joined in 1980, producing three singles for GLASS RECORDS. Initially used a rhythm generator then replaced by drummer PETE BROWNJOHN. Played with WHERES LISSE / FALL / EYELESS IN GAZA / TRANCE / MYSTERY GUESTS / BAUHAUS / DANCE CHAPTER / SKI PATROL /ENGLISH SUBTITLES / ATTRITION / THEATRE OF HATE... the last gig was in Northampton 1982, recorded and released as a tape by ADVENTURES IN REALITY label and fanzine from Coventry.
The Cast
ALEX NOVAK Vox before ISAWS after TEMPEST / ATTRITION now VENUS FLY TRAP , RICHARD FORMBY Guitar after JAZZ BUTCHER / IN EMBRACE / SPECTRUM, DAVE HYNES Keyboards, ADY TILLEY Bass before WHERES LISSE, PETE BROWNJOHN Drums before ISAWS , ALARIC NEVILLE Guitar, FILIPE FIGUERA Bass

Grammy nominated, Love Scenes features Diana's mastery of the romantic ballad in an intimate piano trio setting with Russell Malone on guitar and Christian McBride on bass.

"When my producer, Tommy LiPuma, and I were deciding on the songs for my newest album, it never occurred to me that the songs we ultimately chose would be all about love. I selected songs that I personally liked, and that had a special meaning for me. However, as is often the case during the creative process, a connection among the songs just seemed to organically appear. The songs are indeed about romance. But to me there is a broader and more personal attachment to each of the songs than the standard definition of romantic love might imply. I think that these songs represent the strength of love, including the love of family and friends. But rather than describing my own thoughts about each song, it is my hope that all of you who listen to the music and read the lyrics will discover and imagine your own personal "love scenes" among the mountains, oceans, rain and gardens of these songs." - Diana Krall

The iconic US blues-rock guitarist Walter Trout is set to release his 30th
solo album, Ride on 19 August via Provogue/Mascot Label Group.
However fast or far a man travels, he can never truly outrun his past
On his new album he found himself eyeing the horizon and the green shoots of
his triumphant late career. There was a new record deal with Mascot/Provogue. A
move from California to Denmark with his beloved family. Even now, aged 70,
Trout was still writing fresh chapters of his life story.
The last time we saw Trout stepping out, he was on the road in support of 2020's
Ordinary Madness. The campaign ended in frustration, when Covid rendered live
work too dangerous, both for this liver- transplant survivor and his fans,
condemning Trout to an enforced downtime in Denmark that he hadn't known in a
half- century. "I've been at this since '69, when I started out in the New Jersey
bars," he reflects. "Suddenly, I'm sat on my ass for sixteen months, although I did
still practice guitar every day. My wife and manager Marie knew I needed to make
music. So her present to me for my 70th birthday was a brand-new record deal
she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and
my plan was to fly home to make a new album."
The result is Ride, providing an emotional release-valve – both for its creator and
his loyal listeners – perhaps this veteran artist can reconcile with his past, accept
his future and live in the present as it unfolds. "I think you can interpret this album
title a few different ways," he concludes. "I mean, this album is definitely a
musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of
a ride too, isn't it? And I want to live mine to the fullest."

The iconic US blues-rock guitarist Walter Trout is set to release his 30th
solo album, Ride on 19 August via Provogue/Mascot Label Group.
However fast or far a man travels, he can never truly outrun his past
On his new album he found himself eyeing the horizon and the green shoots of
his triumphant late career. There was a new record deal with Mascot/Provogue. A
move from California to Denmark with his beloved family. Even now, aged 70,
Trout was still writing fresh chapters of his life story.
The last time we saw Trout stepping out, he was on the road in support of 2020's
Ordinary Madness. The campaign ended in frustration, when Covid rendered live
work too dangerous, both for this liver- transplant survivor and his fans,
condemning Trout to an enforced downtime in Denmark that he hadn't known in a
half- century. "I've been at this since '69, when I started out in the New Jersey
bars," he reflects. "Suddenly, I'm sat on my ass for sixteen months, although I did
still practice guitar every day. My wife and manager Marie knew I needed to make
music. So her present to me for my 70th birthday was a brand-new record deal
she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and
my plan was to fly home to make a new album."
The result is Ride, providing an emotional release-valve – both for its creator and
his loyal listeners – perhaps this veteran artist can reconcile with his past, accept
his future and live in the present as it unfolds. "I think you can interpret this album
title a few different ways," he concludes. "I mean, this album is definitely a
musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of
a ride too, isn't it? And I want to live mine to the fullest."