For its first release of 2026, Bytes revisits the impeccable 2024 collaboration between Andy Bell (RIDE/Oasis), recording under his electronic alter ego GLOK, and the producer and Insult to Injury label boss Timothy Clerkin. Along for the ride are an impressive cohort of musical talent - bdrmm, Richard Sen, Tom Sharkett (WH Lung), Legowelt, Xylitol and FROID Dub - who all deliver exceptional and unique interpretations of the tracks.
The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.
After decades spent shaping the sound of southern Madagascar and becoming one of the defining voices of tsapiky, Damily returns with Fanjiry, his most intimate and focused record to date. Known for electrifying village ceremonies and carrying the fever of Toliara across continents, he takes a sharp turn - not away from trance, but deeper into its core. Recorded in just three days at Studio Black Box with analog wizard Peter Deimel, Fanjiry strips the tsapiky band down to a single guitar and a single heartbeat. Damily plays alone, yet fills the space completely - bass, rhythm, melody, pulse, and breath merging into a dense and vibrating sound. Every riff is architecture, every harmonic a door opening onto memory, childhood landscapes, and nights where music heals, binds, and exhausts the dark. There is no nostalgia here, no museum of tradition. Fanjiry is a new frontier for tsapiky: raw, precise, suspended between earth and sky, born from craft and necessity. The title - the last star before dawn - captures its essence: a quiet moment before the world awakens, where a single guitar can hold an entire history and still point forward.
This is Jah Wobble"s first post punk LP in recent years following travel and dub records. The brash guitar driven tracks reflect his continuing preoccupation with the declining state of the nation. Driven by his experience working each week at a music based community project in Merton, with Jon Klein, it is reminiscent of Mark Stewart. Angry in an empathetic, constructive way it resolved with the beautiful instrumental "Brockwell Lido". Like much of his work these days, much of the lyrical content comes while traversing London"s transport system. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. Since 2013, he has been one of the featured pundits on Sunday morning"s The Virtual Jukebox segment of BBC Radio 5 Live"s Up All Night with Dotun Adebayo. His autobiography, Memoirs of a Geezer, was published in 2009. Jon Klein Is an English guitarist and producer, best known for being a member of Siouxsie and the Banshees for seven years, from 1987 until 1994. He also founded Specimen and The Batcave nightclub. Klein has worked for other artists including Talvin Singh and Sinéad O"Connor. More recently he has worked as a co-producer and guitarist with Jah Wobble.
On a Sunday in the early 70s in South LA one could asily find themselves experiencing the Pan Afrikan Peoples Arkestra doing what they do for the community, performing incredible music. "Live at Widney High December 26th, 1971" is a previously unreleased PAPA recording. It finds director Horace Tapscott conducting the band at Widney Career Preparatory & Transition Center, a special-education magnet high school in Los Angeles. The band played shows here between 1970 and "72, often sharing the bill with contemporaries John Carter and Bobby Bradford"s group, and at one point the Sun-Ra Arkestra. These weekend shows were free and meant for the surrounding Black community. On this date the PAPA performed a range of compositions from the Ark"s expansive songbook, including arrangements of tunes by Pharoah Sanders and John Coltrane.
“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000
“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000
Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.
Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”
Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.
On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.
“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack”
Melbourne’s DJ Ali is up next on Blue Hour Music with a powerful EP of fast percussive tribal groovers recorded live over multiple hardware sessions. ‘Interceptor’ kicks off the record with energising and rolling momentum laced in echoes of shamanic ritual. ‘Paradox Cell’ maintains the tension with a stripped back and pumping drum track enhanced by repeating tones and swirling winds that suddenly take over. On the flip ‘Nightwatch’ feels even more immersive, tunnelling down into hypnotic chambers where a voice guides and pulls the listener through a lucid void. ’Regeneration’ rounds up the record with an uplifting journey that begins to unfold with a series of shifting layers and hints of colour beneath a haze of euphoria.
No Way Out, released on the Tower label in September of 1967, was the debut album by the American garage rock band The Chocolate Watchband. Blending garage and psychedelic rock, its distorted guitar instrumentals were early examples of protopunk. It was their most heavily Rolling Stone- influenced LP. While No Way Out failed to reach the Billboard 200, it established the group as a popular live act. Largely overlooked at the time of its release, the album had gone out of print by the early 1970s and its reputation has continued to expand over the years.
Death Is Not The End reissue Mark Vernon's sought-after 2013 collection Sounds of a Modern Hospital on vinyl & cassette formats.
Whilst every effort has been made to record the subject in as great a degree of isolation as possible, the sound recordings you will hear on this record were made in a real working hospital and not under controlled conditions. Therefore, on occasion, you may hear some unavoidable background noise, conversations and other extraneous sounds.
All recordings were made by Mark Vernon at Forth Valley Royal Hospital, Larbert, Stirling Community Hospital and Falkirk Community Hospital between 2011 and 2013.
Bettye Swann possessed one of the most emotive voices in soul music’s cannon but her recording career was that of a shooting-star; it blazed at the start, then illumined brightly before abruptly dissipating, all in just eleven years. In 1975 she ceased recording, moved to Las Vegas and retired her Bettye Swann persona.
The Louisianan Betty Jean Champion had relocated to Los Angeles as a young woman where in around 1964 she was introduced to Al Scott, owner of Money Records. It was her fourth Money 45 “Make Me Yours” that propelled Swann into the stratosphere. One of the defining songs of the era, it was her pathway to Capitol Records with whom she signed in 1968.
By 1972 Bettye was at Atlantic Records. The initial Atlantic 45 “Victim Of A Foolish Heart” b/w “Cold Day In Hell” recorded at Fame with Mickey Buckins and Rick Hall, made for a promising debut reaching #16 on the Billboard chart. It was followed by Bettye’s version of Merle Haggard’s “Today I Started Loving You Again” and “Til I Get It Right”, a gentle country-soul labour. “I’m Not That Easy To Lose” also dates from those sessions.
In an attempt to broaden her appeal Atlantic sent Swann to Sigma Sound in Philadelphia where she cut Phil Hurtt’s’ and Tony Bell’s “Kiss My Love Goodbye”, “Time To Say Goodbye” and “When The Game is Played On You”. Her fortunes continued to wane so Swann was next placed with Nashville producer Brad Shapiro. The results were artistically stellar and included three unissued gemstones in The Isley’s “This Old Heart of Mine”, a definitive version of Maxine Weldon’s “I Want Sunday Back Again”, and “Either You Love Me Or Leave Me”.
Celebrating 30 Years of Cherry Moon with this 5x12" vinyl box set, a collection of some of the most iconic tracks of the club. Dive into the history of one of Belgium's most iconic venues, the "House of House".
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Auf ihrem achten Album "Nothing's About to Happen to Me" erzählt Mitski, musikalisch unterstützt von ihrer Band und einem Orchester, eine vielschichtige, verrätselte Geschichte, in deren Mittelpunkt eine Frau steht, die zurückgezogen in einem verwahrlosten Haus lebt. Außerhalb ihres Zuhauses ist sie eine Außenseiterin; innerhalb ihres Zuhauses ist sie frei. Mitski schrieb alle Stücke auf "Nothing's About to Happen to Me". Das Album, produziert und aufgenommen von Patrick Hyland und gemastert von Bob Weston, setzt die musikalische Linie von "The Land Is Inhospitable and So Are We" (2023) fort. Eingespielt wurde es live von Mitskis Tourband The Land. Die Orchesteraufnahmen, arrangiert von Drew Erickson fanden in den Sunset Sound und TTG Studios statt, die Tontechnik übernahm Michael Harris. Mitski ist "die faszinierendste und geheimnisvollste Musikerin des Indie-Rock" (Rolling Stone), die sich "immer wieder auf brillante und wunderbare Weise weiterentwickelt" (NPR Music). Im Laufe ihrer Karriere hat sie bislang sieben Alben veröffentlicht, vier davon erreichten Goldstatus. Ihr Stück "My Love Mine All Mine" ist ein Welthit und erreichte Vierfach-Platin. Zu Mitskis vielfältigen Kollaborationen mit anderen Künstler:innen zählen zwei Co-Writing-Beiträge für das aktuelle Florence and the Machine-Album "Everybody Scream", sowie eine Zusammenarbeit mit David Byrne und Son Lux für den Oscar-nominierten Film "This Is A Life". Derzeit schreibt sie Musik und Texte für die Musical-Adaption von "Das Damengambit". Ihre Konzerte, die Variety als "faszinierende Bewegungsstudie" bezeichnet hat, wurden auch als "hochstilisiert, brillant umgesetzt, supercool" (Philadelphia Inquirer) und "ungewöhnlich, rätselhaft und absolut fesselnd" (The Guardian) beschrieben. Ihr erster Konzertfilm "Mitski: The Land" lief im Oktober 2025 in über 600 Kinos weltweit und festigte ihren Ruf als "eine der wenigen Indie-Stars, die sich den großen Durchbruch verdient haben" (Uproxx). Er erschien zeitgleich mit dem Live-Album "The Land".
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The Song “Hard, Hard Promises” showcased on this latest Soul Direction release, showcases Bobby Hebb’s song writing talents and brings together the album only release performed by
Alice Clark and the Unreleased demo version sung by Bobby Hebb himself. Incidentally the studio dub was entitled “Hard Heart Promises”. We don’t know if he ever intended to release the song himself, but it showcases his talent as a songwriter and a singer. After a few conversations with Universal Licensing, they graciously allowed Soul Direction to release this version and with the consent of Bobby Hebb’s Publishing Company. To both these, we are extremely grateful. Thank you for your continued support.
"And what about you? What are you looking for?" - René Daumal
This musical journey pays tribute to René Daumal and his enchanting world of mysteries and magic. The album shares its title with Daumal's novel, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, published posthumously in 1952, eight years after the author's untimely death.
Mount Analogue is a classic allegorical adventure novel. The novel describes an expedition undertaken by a group of mountaineers to travel to and climb the titular Mount Analogue an enormous mountain on a surreal continent, that is invisible and inaccessible to the outside world and can be perceived only by the application of obscure knowledge. The central theme of mountaineering is extensively explored through literary and philosophical lenses. Daumal died before the novel was completed, providing an uncanny one-way quality to the story, which ends abruptly in the middle of a sentence.
The first disc features a fifty-minute composition divided into six chapters: Introduction, Meeting, Supposition, Crossing, Arrival, and Conclusion. This album weavestogether a rich tapestry of diverse instruments, sounds, and voices that collectively tell the story of this conceptual work, loaded with a synesthetic multitude of colors, aromas, meanings, textures, and moods.
Contributors to this musical poem include Bill Laswell (bass), Henry Kaiser (guitar), Anna Clementi (vocals), Percy Howard (voice), Hideo Yamaki (percussion), Graham Haynes (cornet), Dorian Cheah (violin), Nils Petter Molvaer (trumpet), Peter Apfelbaum (keyboard), and P.ST (concept, electronics), who all lend their talents to a series of excerpts from Daumal's text.
A truly global project, the recordings took place across various locations in Europe, North America, and South America, culminating at Orange Music Studio in New York, thanks to the collaborative efforts of Bill Laswell, James Dellatacoma, and Michael Fossenkemper.
The second disc presents five improvisations for solo electric guitar by Henry Kaiser. The first solo, Jodorowsky's Peradam, draws its inspiration from Alejandro Jodorowsky's 1973 film The Holy Mountain, which was inspired by the Daumal novel. Kaiser's initial forty-eight-minute guitar solo serves as a foundational guide for his four subsequent, Rashomon-esque, solo musical interpretations of Mount Analogue, as seen through the psychedelic labyrinth of Jorodrowsky's cinematic masterpiece.
"And what about you? What are you looking for?" - René Daumal
This musical journey pays tribute to René Daumal and his enchanting world of mysteries and magic. The album shares its title with Daumal's novel, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, published posthumously in 1952, eight years after the author's untimely death.
Mount Analogue is a classic allegorical adventure novel. The novel describes an expedition undertaken by a group of mountaineers to travel to and climb the titular Mount Analogue an enormous mountain on a surreal continent, that is invisible and inaccessible to the outside world and can be perceived only by the application of obscure knowledge. The central theme of mountaineering is extensively explored through literary and philosophical lenses. Daumal died before the novel was completed, providing an uncanny one-way quality to the story, which ends abruptly in the middle of a sentence.
The first disc features a fifty-minute composition divided into six chapters: Introduction, Meeting, Supposition, Crossing, Arrival, and Conclusion. This album weavestogether a rich tapestry of diverse instruments, sounds, and voices that collectively tell the story of this conceptual work, loaded with a synesthetic multitude of colors, aromas, meanings, textures, and moods.
Contributors to this musical poem include Bill Laswell (bass), Henry Kaiser (guitar), Anna Clementi (vocals), Percy Howard (voice), Hideo Yamaki (percussion), Graham Haynes (cornet), Dorian Cheah (violin), Nils Petter Molvaer (trumpet), Peter Apfelbaum (keyboard), and P.ST (concept, electronics), who all lend their talents to a series of excerpts from Daumal's text.
A truly global project, the recordings took place across various locations in Europe, North America, and South America, culminating at Orange Music Studio in New York, thanks to the collaborative efforts of Bill Laswell, James Dellatacoma, and Michael Fossenkemper.
The second disc presents five improvisations for solo electric guitar by Henry Kaiser. The first solo, Jodorowsky's Peradam, draws its inspiration from Alejandro Jodorowsky's 1973 film The Holy Mountain, which was inspired by the Daumal novel. Kaiser's initial forty-eight-minute guitar solo serves as a foundational guide for his four subsequent, Rashomon-esque, solo musical interpretations of Mount Analogue, as seen through the psychedelic labyrinth of Jorodrowsky's cinematic masterpiece.
Recorded during lockdown and previously only available as a CDr self-released in an edition of 99 in 2022, 'The Sympathy Portal' collects four tracks (one of which is divided into three parts) that make full use of Edward Ka-Spel’s command of melodies, cosmic churn, subtle field recordings, percolated vocals, hypno-rhythms, tempered noise, broken clocks, atmospheric keyboards, uncoiling springs and carefully hewn dynamics. Coupled to often despairing or melancholic lyrics, the album ultimately forms a fantastic addition to a body of work from this hardworking artist usually found at home fronting The Legendary Pink Dots and apparently barely able to rest when not engaged in commitments to them. Here is what he says himself about 'The Sympathy Portal': “'The Sympathy Portal' was created as 2020 drifted into 2021 with the world in the grip of a pandemic. He studied charts on TV, horrified by statistics, temporarily free from a lockdown but well aware that we'd be back in our cubicles soon enough. It was hard to be positive in such an environment and this album reflects much of the fear and tension of the time. But the last song, 'Angel Trail ( Slight Return)', was intended to offer some genuine hope, having been revived for the release after first appearing in a different form on The Legendary Pink Dots' '9 Lives to Wonder' back in 1994.” The album pays testament to a troubled and troubling time that now, a mere few years on, strangely appears like the grand entrance to a series of heavily dark periods we are still desperate to crawl from. It could be argued that the angel trail Edward so eloquently refers to is something that needs to be found more than ever and that, thankfully, his music helps to illuminate this despites its mostly distressed overtones.
Away from the confines of a now hard-to-find and long sold out CDr, Lumberton Trading Company brings this album back as a vinyl release that’s limited to 300 and is scheduled to appear in February 2026.
Premium first edition Kane West - western beats. Heavyweight vinyl, heavyweight sleeves, heavyweight design.
1xLP
12” Vinyl Records (180g, Black), Black and White Labels
12”Jacket 3mm Spine, 350gsm, Print 1/0 K, Gloss Machine Varnish + Hot Foil with Emboss on Front Cover, Hot Foil on Rear Cover
Full Colour 12” Board Sleeves
Creative Direction by Kane West
Design by Jacob Hulmston
Pencil Guy Artwork by Daniel Swan
Das vierte Album und Sub Pop-Debüt von Lala Lala, alias Lillie West, ist ein kraftvoller, warmer und mit Ohrwürmern gespickter Indie-Pop-Kracher für Fans von Jay Som, Porches, Dehd, Angel Olsen und Alex G. Lillie West hat ihre Musik immer aus dem Bedürfnis heraus gemacht, ständig in Bewegung zu sein. Als sie aber kürzlich den Wunsch verspürte, sich niederzulassen, hat sie gemerkt, dass Beständigkeit Kreativität fördern kann. Diese Entwicklung ist der Antrieb für einen Großteil ihres neuen Albums "Heaven 2". Viele Jahre lang lebte West in Chicago, wo sie Lala Lala als Teil der Indie-Szene der Stadt etablierte und mehrere Alben auf Hardly Art veröffentlichte. Diese Alben, "The Lamb" und "I Want the Door to Open", waren kraftvolle Statements einer neugierigen Künstlerin: eingängige Gitarren-Pop-Songs über das Feststecken in den Höhen und Tiefen des Lebens, den Kampf, nüchtern zu bleiben, die Stadt zu verlassen, sein Leben in die Luft zu jagen. West verließ Chicago, um nach mehr zu suchen, und schrieb dabei ihr neues Album "Heaven 2". Auf ihrer Reise landete sie in New Mexico, wo sie in Taos fernab der Zivilisation lebte. "Es war sehr herausfordernd, eiskalt und voller giftiger Tiere. Aber es ist immer noch der schönste und magischste Ort, an dem ich je gewesen bin, und ich träume ständig davon", sagt West. Anschließend zog sie nach Island, wo sie zwei Jahre lang mit Unterbrechungen lebte, wobei sie die Unterbrechungen in London verbrachte, wo sie aufgewachsen war. Schließlich kam sie nach Reykjavik, wo sie sich in der Musikszene einlebte und ein Instrumentalalbum ("If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird") veröffentlichte, bevor sie nach Los Angeles ging, wo sie sich verliebte und sich niederließ. L.A. ist ein guter Ort zum Leben, schon allein deshalb, weil, wie West sagt: "Wo auch immer du hingehst, dort bist du. Ich wünschte, es gäbe eine coolere Art, das auszudrücken." Zum Glück gibt es die: Dieses Thema, überall Schönheit und Erfüllung zu finden, zieht sich durch "Heaven 2". In ,Even Mountains Erode" singt West: , "There are symbols and signs, you're missing your life". West ermutigt sich selbst und uns, langsamer zu werden. Innezuhalten und den Duft der Blumen zu genießen. West hat das Album zusammen mit Melina Duterte von Jay Som produziert, die mit ihrer kraftvollen Stimme einen starken Kontrast zu Wests warmem, rundem Gesang bildet. Die Beziehung zwischen den beiden war telepathisch, und das Ergebnis ist ein mutiges und selbstbewusstes Album. Duterte und West spielten fast alle Instrumente des Albums selbst, mit ein paar wichtigen Gästen wie Sen Morimoto am Saxophon im Eröffnungstrack "Car Anymore" und einer Bridge, die Aaron Maine von Porches für den Titeltrack ,Heaven 2" geschrieben hat. Bei "Catharsis" geht es nicht nur um den Schmerz, sondern auch um die Befreiung, die man erlebt, wenn man sich davon befreit. Und so gibt es auch Momente kühner Freude auf dem Album. "Arrow", das Samples der französischen Electro-Pop-Band La Femme enthält, ist schnell, und seine Schnelligkeit und Freude fühlen sich an, als würde man auf etwas zulaufen und nicht davonlaufen. "None of this was supposed to happen", singt West. Aber es ist passiert. "Es ist so eine grundlegende spirituelle Sache", sagt West, ,Widerstand ist die Wurzel allen Leidens, und ich dachte, ich könnte den Verlauf meines Lebens bestimmen." Natürlich konnte sie das, wie alle anderen auch, nicht. Wohin man auch geht, man ist immer da.
Seit ihrem Durchbruch im Jahr 2016 ist Söderqvists ShitKid eine der interessantesten Bands überhaupt, die immer wieder Erwartungen übertrifft und Konventionen bricht. Nachdem sie das Projekt 2020 plötzlich beendet hatte und komplett aus der Musikszene verschwunden war, kommt ShitKid jetzt mit Compilations und einem Live-Comeback im Jahr 2026 zurück. ,The Essential (Vol 1)" bringt die rohen, rockigen Highlights ihrer Karriere zusammen.
Seit ihrem Durchbruch im Jahr 2016 ist Söderqvists ShitKid eine der interessantesten Bands überhaupt, die immer wieder Erwartungen übertrifft und Konventionen bricht. Nachdem sie das Projekt 2020 plötzlich beendet hatte und komplett aus der Musikszene verschwunden war, kommt ShitKid jetzt mit Compilations und einem Live-Comeback im Jahr 2026 zurück. ,The Essential (Vol 1)" bringt die rohen, rockigen Highlights ihrer Karriere zusammen.
180 gram coloured vinyl now at new price. Spacemen 3's debut album "Sound Of Confusion", released in 1986, was a blistering affair - establishing their love of the two-chord song and also expressing their admiration for the likes of MC5, The 13th Floor Elevators and The Stooges. Sound of Confusion was 7 tracks of overdriven assault, with a strange bleakness and despair creeping through the hypnotic sprawl. R Hunter Gibson would later say: "It boosts the value of unlit rooms, unpaid debts and unfeigned terror and it would rather tackle the gradients than settle for level best. New digipack. Tracks : 1 Loosing Touch With Your Mind 2 2.35, 3 Little Doll, 4 MaryAnne, 5 Roller coaster, 6 Hey Man, 7 OD Catastophe.
Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer
Brooklyn duo The Still Brothers is a musical project of childhood friends Evan Heinze (The Shacks/Big Crown) and Andrew LeCoche (Ula Ruth). Heinze has toured with the likes of Khraungbin, Lee Fields and Cut Chemist, while LeCoche’s old band once opened for Paul Simon and Edie Brickell. A former student of Madlib’s uncle Jon Faddis, LeCoche has scored music for Netflix and Patagonia and sound design for Twitter, Patron, and Marvel. Signing to Lewis Recordings in 2020 the band’s first single ‘The Deep’ was instantly picked up by Steve Lamacq on BBC 6 Music who regularly plays it to this day. ‘Wake Up’ featuring the vocals of Marina B. spent six weeks on the BBC 6 Music playlist gaining support from Lauren Laverne, Gilles Peterson, Mary Anne Hobbs, Craig Charles, Huey Morgan, Cerys Matthews, Don Letts, Tom Ravenscroft and Guy Garvey. Lockdown didn’t slow down the band’s creativity with many tracks on their self-titled debut EP recorded remotely. Two such tracks were the collaborations with London based singer/songwriter Shauna Kelly aka Shoshy. ‘It’s Not Over’ and ‘Crazy’ were released on 7” and both received BBC radio support. Marina B stepped back on the mic with the upbeat hit ‘I Wanna Be With You’, a dancefloor filler mixed by St. Frances Hotel (producer for Michael Kiwanuka). The b-side ‘Sungalz’ is a hazy dream pop number that started life as an instrumental jam
This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more.
Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered.
The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges river. Classical music in India was perhaps at its height during the 78rpm period as the Raj era was ending and the world was globalizing.
2-LP gatefold with 12 page full-color booklet insert - features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Robert Millis from his collection of 78rpm records and ephemera.
Named after his grandfather's pool hall cafe in Alert Bay, British Columbia, the record connects small-town grit with the bright lights of Nashville, where Willie recorded with Grammy- winning producer Tom Hambridge (Buddy Guy, Kingfish, Susan Tedeschi). From roadhouse stompers to backseat ballads, Garret T. Willie sings of love, loss, addiction, and resilience with a voice that cuts like hi- beam headlights on a dark backroad. Bill's Cafe is alive wire of energy and soul, carrying old-soul traditions into the future with fire and truth.
The most popular acoustic folk music group of the 1960s, Peter, Paul and Mary mixed great songs with political and social activism. They brought folk music to a new prominence in the post-McCarthy era, putting lyrics about politics and morality on the radio amid the syrupy boy-girl love tunes that dominated the airwaves. Presented here is the trio's debut album, originally issued in 1962, the splendid selftitled Peter, Paul and Mary. It features some of their most popular compositions such as 'Early in the Morning' and 'Cruel War', and great renditions of Hedy West's '500 Miles' and Pete Seeger's 'If I Had a Hammer'.
The bonus tracks were recorded live in San Francisco and Long Beach, California, late 1962: 'One Kind Favor', 'The Times They Are A' Changin', and 'If I Had My Way'. "The debut album by Peter, Paul & Mary is still one of the best albums to come out of the 1960s folk music revival. It's a beautifully harmonized collection of the best songs that the group knew, stirring in its sensibilities and its haunting melodies as it crosses between folk, children's songs, and even gospel. Peter, Paul & Mary, which hit the top spot on the album charts as part of a 185-week run, is the purest of the trio's albums, laced with innocent good spirits and an optimism that remains infectious"
f 6 ONE KIND FAVOR [Live version]
[m] 13 THE TIMES THEY ARE A' CHANGIN' [Live version]
[n] 14 IF I HAD MY WAY [Live version]
[f] 6 ONE KIND FAVOR [Live version]
[m] 13 THE TIMES THEY ARE A' CHANGIN' [Live version]
[n] 14 IF I HAD MY WAY [Live version]
James Davison, the most startlingly talented UK brass player of his generation, joins this highly experienced team with brilliant results. Charlie Parker's 'Ornithology',Thelonious Monk's 'Straight No Chaser', Billy Strayhorn's 'Satin Doll' and Horace Silver's 'Peace are amongst the gems to be found here. This is the second Woodville Records release to be based solely around the brilliant arranging skills of world class trombonist Mark Nightingale. The first, Alan Barnes plus 11 (WVCD151) featured Mark's adept and characterful handling of a twelve- piece ensemble. Jazz Classics ...with a Twist displays equal inventiveness and imagination, showcasing a sextet line-up in a programme of individually re-thought takes on these ageless tunes. In Mark's hands this band frequently resembles a much larger ensemble such is his skill in manipulating tone colour and voicing.
After being fired by Miles Davis and traveling to Philadelphia to combat his drug addiction in 1957, John Coltrane accepted an invitation from Thelonious Monk to join his quartet. They famously played at New York's Five Spot Cafe and despite the exquisite quality of the band's music, it yielded few recordings and Coltrane's tenure with Monk only lasted six months. Produced by Orrin Keepnews for his label Milestones, the album is compiled from sessions recorded during April, June, and July of 1957. It wasn't released until 1961 though, four years after the sessions took place, and after Coltrane had become a leader and jazz star in his own right.
[c] OFF MINOR [tk 4]
[f] EPISTROPHY [alt tk]
[g] FUNCTIONAL [alt tk]
[h] OFF MINOR [master]
Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
Portrait in Jazz was Bill Evans' third album as a leader, following New Jazz
Conceptions (1956) and Everybody Digs Bill Evans (1958). It was also Evans' first
studio album with his legendary trio, featuring Scott LaFaro and Paul Motian.
The repertoire here consists of standards (all of them treated in Evans' very
personal style) plus two originals, "Peri's Scope" – premiered on Portrait in Jazz,
and "Blue in Green," which was co-composed by Miles Davis. Bill first recorded the
latter composition in March 1959 with Miles for the classic album, Kind of Blue.
The next chapter in this series, 'Second Thoughts (Expanded Edition)', marks 50 years since Split Enz ventured to London to record with Roxy Music's Phil Manzanera in the producer's chair. This definitive 2LP set pairs the original 1976 mix, remastered from the original tapes, with a companion LP 'Wide Angle Enz' - a treasure trove of live recordings and alternate mixes, including a previously unreleased archival rough mix of '129 (Matinee Idyll)' which is exclusive to this release. Presented in the distinctive Australia/New Zealand sleeve featuring John Prew's band portrait, the album concludes with the hypnotic locked- groove of 'Mental Notes', mirroring the international version's striking finale. Pressed on two 140g vinyl, housed in a wide- spine sleeve with printed inner bags. Remastered from the original tapes by Phil Kinrade and overseen by Eddie Rayner, with lacquers cut by Harry Rudkins at AIR Studios.
"Tonight At Noon" compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, Saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album "The Clown" (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on "Oh Yeah" (Atlantic SD 1377).
The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avantgard Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is appararently boundless. Mingus’s piano playing is deeply rooted in the blues, and his sense of tempo and lightness anhances these numbers, particularly in "‘Old’ Blues for Walt’s Torin".
In these compositions one already finds hints of Mingus’s later recordings. The most beautiful number is taken from the 1957 session and concludes the album: "Passions Of A Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album’s magic.
Die Ameisenstaat Platte wird nunmehr 29 Jahre alt. Mit 26 war sie bereits zum ersten mal beim Schönheitschirurgen und wurde kernsaniert. Im Sinne eines ganzheitlichen Schönheitskonzeptes wurde ihr ein einwöchiger Aufenthalt im Zoetrope-Beautysalon spendiert. 54 Einzelbilder sagen mehr als 1000 Worte. So viele Einzelbilder braucht es um eine Picture Platte zum leben und zum Sterben zu erwecken. Auf dem Vinyl wird der Lebenszyklus einer Ameise von der Geburt bis zum Tod nachgezeichnet. Um die Ameise zum leben (bzw. sterben) zu erwecken benötigt ihr: die Knochenfabrik LP Ameisenstaat Zoetrope Vinyl Edition, eine Stroboskop-App fürs Handy die 1800 RPM bzw 30 HZ kann, wahlweise ein Handy dessen Videofunktion 30 Frames/Sekunde kann. Platte auflegen, Geschwindigkeit auf 33 RPM und bei sehr hellem Licht (idealerweise direktes Sonnenlicht) mit der Handkamera filmen. Die Framerate muss 30 fps (=Frames per Second) betragen, das ist üblicherweise voreingestellt. Je heller die Beleuchtung desto schöner der Effekt. Eine weitere Möglichkeit ist das Beleuchten der Platte mit einem Stroboskop. Es gibt zahlreiche Stroboskop Apps fürs Handy, der Blitz muss individuell einstellbar sein. Eine Strobo-App die ausschliesslich im Takt der Musik blitzt ist hierfür ungeeignet. Die Blitzrate muss hierbei auf 30 Hz bzw. 1800 RPM eingestellt werden. Hier gilt je dunkler die Umgebung desto schöner der Effekt.
Pink Must is the duo project by Brooklyn based sound artists and musicians Mari 'More Eaze' Rubio and Lynn Avery. This self titled album is the debut release under the Pink Must umbrella.
Based on a long-standing artistic chemistry and shared love of genre-defying sounds, Pink Must started off as a remote grunge collaboration, with demos shared long-distance between New York and Texas. Over time, and especially since uniting in Brooklyn in 2023, the project evolved into its own animated soundspace, connecting raw imperfect textures with classic songwriting and a playful approach to both track instrumentation and lyrics.
The duo's production blends richness, glitches, and dissonant layers with drum and string arrangements in ways that subtly hint at influences like Stina Nordenstam and PJ Harvey. The record is tangled yet direct: fictional sketches of various situations, songs about love, change, decay, and even Mari's dog, Keith—all wrapped in signature guitar dreams and deadpan vocal lines.
