Dynamite Cuts is proud to reissue these amazing super funky grooves from this iconic funk & soul legend Carl Sherlock Holmes. This release is a 7” gatefold version, with a Q&A with Mr. Holmes on the inner sleever, about this iconic band.
Includes Breaks, rare groove clubs’ classics and a wonderful little soul gem.
Some of the greatest jazz musicians of all time have passed through Art Blakey's Jazz Messengers: Horace Silver, Hank Mobley, Kenny Dorham, Wayne Shorter and Donald Byrd, among many others. However brief their stay, working with the demanding and full-throttle drummer not only increased their visibility, but also their chops and interpretive capacity. Blakey's ability to drum up the best players in the game may have even eclipsed his superhuman ability to play drums.
Altoist Jackie McLean, trumpeter Bill Hardman, bassist Spanky deBrest, and pianist Sam Dockery deliver whole-bop goodness on five propulsive, fiery tracks. True to its title, this LP bops hard, with a ferocious swing, boundless energy and telepathic communication between players - especially Blakey and Hardman. Considering the rhythmic demands of Blakey's locomotive playing style, this was an incredible achievement.
Impex Records has cut this gorgeous 180-gram LP with the original analogue mono master tapes and without computer processing of any kind. You hear all the vivacious interplay that occurred on that weekend in 1957 when Blakey and crew forged a bold new vision of muscular, funky jazz. This is music that still resonates over 50 years later. Not to be missed!
Next on Extra Soul Perception, we're very proud to welcome a new artist to the label, Paddy Fred, with three tracks of antipodean psych soul for his 'Spells' 7".
Paddy Fred is a musician based on the south coast of Wellington, New Zealand, where he grew up. He's played guitar since he was a teen, and went on to study music performance, and toured with a number of bands throughout his twenties. When these bands dissolved in 2011, he began beat making and music production of his own, losing himself in the freedom of making music on his terms.
Inspired after hanging with Flying Lotus & the Brainfeeder crew and clubbing at Low End Theory in Los Angeles, Paddy created his first release, 'Laminate', which dropped in 2013; the same year Paddy entered fatherhood.
After emerging from the "survival zone" of the first five years of parenting, Paddy emerged a little lost, separated from the momentum of his musical career. There then followed a period of self-reflection. As he ran up and over the same coastal path repeatedly, he slowly but surely rekindled his passion for music making, and the work began again…
Paddy came to the attention of the Extra Soul Perception crew courtesy of fellow New Zealander, Mara TK (who provided the label's highly acclaimed 2021 album 'Bad Meditation'). When the guys heard the demos, they signed him on sight.
The lead track 'Spells' consists of big sludgy drums, a growling synth bass, ethereal guitars and spacey vocals, mixing the washed-out slow-mo beat construction of Toro Y Moi with the heady psychedelic soul of Tame Impala and Mildlife. On the flipside 'Found You' is a more tranquil affair, with languorous drums befitting DJ's Khruangbin rhythm section, whilst closer 'Kids' (digital only) offers a robust yet airy finish with an uptempo instrumental akin to the sound palette of late 00s Four Tet.
'Spells' is the first taste of Paddy's new material. Inspired by lost love, babies feet, social fatigue and universes held within rock-pools, this is Paddy Fred at his most true to self, and just a small sample of what's to come.
Storyville Records is proud to present Michel Petrucciani – Solo in
Denmark
This album features French piano prodigy Michel Petrucciani in a solo recording
from Silkeborg Church, 1990. MP was one of the most popular pianists in the
1990’s due to his extraordinary technique, his astounding musical outlook and
extremely dynamic playing style. His music is simply timeless and magical,
seemingly coming straight from his soul. As he is often quoted: “I’m not playing
to your head, but to your soul. When I play, I’m like a bird flying over the landscape,
and I can land anywhere.” Recorded on June 23, 1990 at the Riverboat Jazz
Festival in Silkeborg, Denmark, this album is a tour de force that leads the listener
through a series of the most iconic motifs in jazz, all of which are deconstructed
and transformed by an outstanding craftsman and embellished along the way by
a true master. And he also allows himself to insert unexpected twists and turns
that are guaranteed to make the listener smile. Pay special attention to his small
rhythmic and melodic tags, little hints for the well- trained ear. They reveal a
musician who never grows complacent or takes himself too seriously. Here, the
totality of MP’s talents are exhibited in an intimate setting, where he stuns the
crowd with his inventive and blindingly rapid playing. The music emanating from
the man simply grabs everybody’s attention. Arrangements by jazz legends like
Duke Ellington, Thelonious Monk and Miles Davis gets the cheeky Petrucciani
treatment with his rather audacious approach to ‘established’ jazz standards. MP
had the ability to effortlessly travel through the history of jazz on his piano,
fascinating his audience in the process. This church concert clearly displays why
MP quickly developed into a truly exceptional member of the international jazz
scene. For MP, joyful playing with the music was a necessity of life. He lived and
breathed for the opportunity to show it his love and respect. And all we have to do
is open our ears, mind and soul and accept the gems from a musical individualist,
who has made an indelible impression on millions of jazz listeners around the
world. Solo in Denmark is simply another chapter in the remarkable story of a
man, who perceived himself as a servant of the music. BIOGRAPHY Michel
Petrucciani was a highly charismatic and high- spirited character, despite being
hindered by a genetic disease called osteogenesis imperfecta or brittle bone
disease. He was extremely short, standing at three feet. Luckily, his hands were
perfectly normal, but he had special modifications to reach the piano’s pedals. He
started playing in the family band with his guitarist father and bassist brother. At
the age of 15, he had the opportunity to play with Kenny Clarke and Clark Terry,
and at 17 he made his first recording. MP moved to the US in 1982, where he
convinced Charles Lloyd to get out on the road again, and tour with his quartet.
Behind the grand piano, MP was a giant with h
Talkbox is multidisciplinary artist Michael O’Mahony’s third album and his first for 33-33. It’s his most complete and cohesive music project to date, a culmination of ideas, happy accidents and compositions that have been cut up and re-arranged over many years. The album’s sonic signature is the Vocaloid software synthesizer – the titular ‘talkbox’ – famously by Japanese cartoon Hatsune Miku. O’Mahony became aware of Vocaloid in 2015 through the popular Nyan Cat meme, which em marketed ploys the software. Excited by the emotive potential and realism of Vocaloid’s voice synthesis, he began to imagine an album that combined its capabilities with italo disco- and UK garage-inflected sounds. As the version of Vocaloid O’Mahony had access to sang only in Japanese, O’Mahony relied on Google Translate to obtain the required characters to enter into the software. In early experiments with the software, the north Londoner translated BBC match reports from his beloved Arsenal FC. Eventually, he amassed a library of syllables and phonetic sounds, from which he created the melodies crystallised on the record. As far as we know, these vocal lines have no meaning in lyrical terms. O’Mahony works largely in an iterative way; song ideas are reworked over and over in different styles, sometimes over a period of years. Multiple versions of a song might appear on an album, each one with its own particular nuances in feeling. Music perhaps does not always flow out of O’Mahony, but emerges over time. O’Mahony’s album forms part of his wider project: an analysis of his subjectivity through art and psychotherapy. The music complements his writing and video work, which feature in his performances. He writes in chains of association, speculating on topics such as family dynamics, or the meaning of recurring dreams about a childhood game console. His video practice features footage of objects found in his parents’ house, such as his sister’s childhood My Little Pony toy and his retired psychiatrist father’s lecture tapes. The music, at once synthetic and heartfelt, imbues the writing and video work with a strange tenderness. Taken together, these various aspects of O’Mahony’s work form a meditation on the emotional attachments we make to consumer objects and the role of early life in character formation. Tracklist 1/Talkbox 2/More Succinct 3/Electricity 4/Not Giving Up 5/Dinosaur 6/Trumpet 7/Electricity (Rock Version) 8/Aliss 9/Be Good 10/Not Giving Up (Slow Version)
On a first, careless, listen, Stockholm four-piece Melby might seem like a
charming, fun little jangle-pop band - Pay a little more attention however,
and you'll find their waters run a lot deeper than that
The band have all the flash and sparkle of your favourite indie band, but add an
ability to touch moods and feelings with a meaning beyond most of their peers.
Their guitars, drums and synths rattle, roll and flicker around each other, all held
together by the soul-shiver in Wiezell's vocals, to make immaculate little guitarpop gems, equally dusted with sadness and sugar.Finding comfort in a sea of
uncertainty might be a good way to describe Looks Like A Map, the bands second
album. The record captures Melby at a moment where they're growing as people
and as a band, expanding the reach of their sonic horizons, and taking in deeper
and heavier themes, trying to find a home in an often-alienating world. The music
they made around that has a little touch of sorcery around it, sometimes soft as
smoke, sometimes woozy and dream-blurred, sometimes crashing and explosive.
But even through all that evolution, the heart and the soul have remained the
same, and Looks Like A Map still has that Melby-feeling, of a band who put all of
themselves into everything they make and their own blend of indie, psych, pop,
rock and folk. It's a new high for the band that have toured Scandinavia, Germany
and the UK and have played festivals such as Eurosonic, Reeperbahn and
By:Larm, and one that hints at even bigger things to come.
Combining elements of indie-pop, punk, emo and just a little bit of 2009 vintage math-rock for good measure, adults are four pals trying to find their way in a disintegrating world. for everything, always reflects on how we look after ourselves, one another and people in our community; it’s a riotous collision reminiscent of Johnny Foreigner, The Beths or Trust Fund, bursting with crunching guitars, speedy drums and yelping dual vocals. The first single all we’ve got // all we need is a song about individual torments: “having a breakdown on the Megabus to Bristol", and about collective support: “mutual aid, building strong networks of community resistance to the hostile environment, to food insecurity, to the homophobia and transphobia by the state and about trying to look after one another”. the secret song to end side one deals with loss, guilt, rejection and anxiety, exploring the travails of a messy breakup and the masculine urge to bury everything deep down despite the fact that that only hurts people more. tfl has a lot to answer for is a “reflection of drinking way too much in yr mid 20s, staying up too late, burning yrself out and how it impacts on yr relationships and mental health”. Recorded and produced by Rich Mandell (Happy Accidents, ME REX) over a couple of weekends in the summer of 2021, for everything, always is the constantly naive, but optimistic, outlook: always striving for a better future in the face of modern society’s bullshit. lts are a noisy pop band desperately clinging on to the ghosts of 2009. Their songs are a silly, joyful, and occasionally sad, look back at the tail end of their 20s, a way to grapple with breakups, parties, alcohol and loneliness, and looking hopefully into the future. They’ve released singles with Art Is Hard and For The Sakes Of Tapes, and self released an EP (The Weekend Was Always Almost Over), which was subsequently released on vinyl by Caballito records. adults are based in south London. Faster, messier and sillier than they have any right to be, adults are hopeful and joyous, fighting through the existential angst of youth to try and find their place in a world on the brink, as grown ups, as adults. Like the octopus on the artwork says: “we're all we've got, we're all we need”. // “a cacophony of clattering drums and belt-it-out choruses Los Campesinos! or Martha would be proud of evidence that adults seem to have stumbled into something rather marvellous” For The Rabbits // “There’s an ample buoyancy from the vocal work, and the guitars are crunchy, though I like how they’re a bit tempered here; think of Martha having to play at your local library…hooks, but just a little more subdued. There’s just something about this that radiates joy” Austin Town Hall // Tracklist: A1) I Had A Little Snooze & Now I Will Probably Never Arrive At Yr House A2) Janine (JG Forever) A3) All We’ve Got // All We Need A4) Tfl Has A Lot To Answer For A5) 2 Sqs A6) The Secret Song To End Side One B1) Things We Achieve B2) The Nod B3) The Pitch And Yaw Of The 6.12 To Brighton (Plain Wrong) B4) Between Buildings B5) Killing & Dying & Something More Positive B6) The High Watermark (Thoughts Of U) B7) Wasn’t Like That
Treviso, Italy-based two piece Kill Your Boyfriend will release their fourth album 'Voodoo' on October 14th via Sister 9 Recordings (Europe), Little Cloud Records (North America) and Shyrec (Itay). A frantic and hypnothising bacchanalia of Psych & Industrial tinged soundwaves, the new album is a collection of reverb laden necromantic charms, summoning the souls and bones of the greats in the Rock & Roll pantheon of the 1950s. The duo delivers such glittery dark enchantment via 7 hoodoo hymns, travelling with a crumbling, ghostly and magically whizzing Rocket 88, in the company of Marie Laveau and madame Lalaurie. It's a relentless whirl of Voodoo-Psych, Industrial-Billy, Electro-GrisGris, which you can dance to. The new LP follows 'Killadelica', where Kill Your Boyfriend had refined their debut signature sound, bridging the gap between the semi-obscure but hauntingly fascinating tradition of Veneto's Post-Punk (Death In Venice, Evabraun, Pyramids, etc.) and contemporary Psych-Nouveau. With 'Voodoo', Matteo Scarpa and Antonio Angeli, explore new genres and expand the sonic borders, without losing their original intent. They replace the synth bass with a bass-guitar, adding more fluidity and weight to a renewed and punchier rhythmic section. Electronic and acoustic percussion are fuller and heavier, and the band's new stomp-machine is a hyper-convulsive version of the saturated Rock & Roll and R&B drumming, from the cheap garage studios of 1950s indie labels. Sida A is the most Rock & Roll of the two, and it is inspired by Michael Ventura's essay "Hear that Long Snake Moan", which brought forward the idea that "the Voodoo rite of possession by the god became the standard of American performance in Rock’n’Roll" where the performers "let themselves be possessed not by any god they could name but by the spirit they felt in the music”. Each song invokes one or a set of the lost souls of the Rock & Roll era, with 'The Day The Music Died' referring to the infamous 3rd of February 1959. Side B descends deeper into the magic swamps of Creole magic, with music taking on a much more liturgical function, conjuring shamanic possessions via extra layers of tribal percussion. The band says of side B: "we see it as a one long ritualistic descent into a psychedelic underworld made of echoing voices, claustrophobic spaces populated by lost souls, enchanters and witchdoctors."
TRACKLIST 1. The King 2. The Man In Black 3. Mr Mojo 4. Buster 5. The Day The Music Died 6. Papa Legba 7. Vodoo
Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their second album as a standalone release. “A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret” Edd Gibson, Friendly Fires. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. Released just months after their debut second album, ‘On The Shore’ sees a shift from the first record into something darker and more ambivalent with an arcane Englishness. The product of an era characterised by clunky polemic, arcadian sentimentality or English fuzzy-felt surrealism, the album, like all classic records, is so much greater than the sum of its parts. Opening with ‘Soldiers Three’, learned from Dave Swarbrick, the album includes another traditional tune and one of the definitive moments in English folk rock ‘Polly On The Shore’ alongside ’Sally Free and Easy’ and ‘Streets of Derry’. // “The music’s arcane power remains intact” Mojo // “A fantastic band” Record Collector. // “Spectacular” Uncut. // “Sublime” Shindig. // “Timeless” Prog. // “It’s these two original albums that stand as pinnacles of form” The Wire. // Track listing: A1. Soldiers Three A2. Murdoch A3. Streets Of Derry A4. Sally Free And Easy B1. Fool B2. Adam's Toon B3. Geordie B4. While The Iron Is Hot B5. Little Sadie B6. Polly On The Shore
Hear angel trumpets and devil trombones on the first instalment of the long awaited ‘Plastic Legacy pt II’ from transcontinental punk trash band Pale Angels. The album boasts soaring melodies and tortured guitar tones anchored by a fuzz bass guitar that sings uniquely yet thumps rhythmically. ‘Plastic Legacy pt II’ sees Pale Angels’ Jamie Morrison and Michael Santostefano joined by Jerome Westerkamp (songwriter for Cincinnati, Ohio’s Vacation) on drums. Returning after 6 years to longtime friend and producer Benjamin Greenberg (uniform, Christfucker, danny elfman) to create a masterpiece of gut-wrenching sincerity and sensitivity. Track listing: Killer; Casper; 21 Days; Must Be Love; Halloween; Thorn; Little Lover; Rahway
'The Size Of The Night' is Peter Kernel's fourth studio LP, originally
released in 2018
The duo is composed of Barbara Lehnoff (Camilla Sparksss) and Aris Bassetti,
who are trying to accept that they can be both sensitive people and huge jerks.
And that it's ok. Considered a little masterpiece among indie rock critics, this
album expands the noise pop spectrum through larger ambitions and new
instrumentals.
Nashville-based instrumental rock combo Los Straitjackets have been
proving for years that rock & roll is a truly universal language by doing
away with vocals, but for this album the masked guitar manglers have
decided to focus on a more specific tongue - namely Spanish
For Rock en Español, Vol. 1, Los Straitjackets have recruited three talented friends
to perform a set of rock & roll classics in Spanish -- Cesar Rosas of Los Lobos,
Big Sandy of retro-country kings Big Sandy & His Fly-Rite Boys, and Little Willie G.,
lead singer with legendary East L.A. soul-rockers Thee Midnighters. While most
folks will be familiar with these tunes in their English-language originals, many of
the versions that appear on this album were taken from Spanish rewrites
recorded in the '60s by Mexican teen groups such as Los Teen Tops, Los Locos
del Ritmo and Los Rebeldes del Rock. This 15th anniversary edition LP is the first
ever reissue of Los Straitjackets' 2007 classic album and is pressed on purple
vinyl.
• Celebrating 40 years since the game-changing “For Dancers Only” LP, KENT 001, “For Dancers Forty” revisits the Los Angeles labels that have given us so much.
• Like KENT 001, the collection represents the broad church of the Biharis’ recordings and features soul stompers, rhythm & blues busters, girly grooves and heavenly harmony.
• Most tracks are new to Kent LPs and there’s a brand new 1966 soul recording from 50s Modern R&B artists Aaron Collins & the Teen Queens. Long-time Kent favourites Jackie Day, Z.Z. Hill and Johnny Copeland are included with some of their underplayed tracks – for Copeland it’s the first vinyl outing for his dancer ‘I Was Born To Love You’. As ever on our rare soul scene, it’s the lesser-known artists who we revel in and there are stunning tracks from the Simms Twins, the Marvellos, the Intentions and the in-demand (due to the Kent 45 being deleted) ‘I Got Love’ by the Other Brothers.
• Tommy Youngblood’s LP track ‘Tobacco Road North’ has been a sleeper, eventually being picked up by hip hop samplers for its atmospheric musical qualities – and we at last give its proper accreditation after decades of misinformation. Little Joe Hinton’s ‘Tired Of Walkin’’ is now looked on as an R&B dance classic, despite its poor sales on release.
• The Sweethearts adorn our cover with a recently discovered colour photo from the archives of Modern’s head engineer Bill Lazerus. Apart from their bouncy ‘This Couldn’t Be Me’, they provided backing for many of the stable’s 60s recordings.
• You Have “Only”, “Also” and “Forever” – make space for “Forty”
As three souls plunge down from the heavens, death and destruction can be felt hanging in the air like a foul stench. Red clouds swirl around a black sun that never sets and an erratic clock ticks off-tempo, moving faster and slower before rewinding and starting anew.
“Let me paint you a picture…” vocalist Mikey Arthur sings, welcoming listeners with a dramatic opening scene. It takes a skillful guide to navigate the darkest depths of hell. And, as The Gloom In The Corner depict in their second full-length album Trinity, death is merely the beginning of the series of chilling adventures
Purposefully aligning their song count with unlucky number thirteen – a reoccurring symbol in the ever-unfolding Gloom Cinematic Universe or GCU – it comes as little surprise to longtime fans that each of the Australian quartet’s enticing tracks intertwine to form an interlocking tale; this time centered around the appropriately labeled unholy trinity.
Comprised of previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne, the group’s bloody battle is woven throughout the album as the anti-heroes determinedly claw their way back to Earth from the Rabbit Hole dimension, slashing, shooting, and extinguishing anyone who dares to oppose their quest. Yet, for the Girl of Glass, Ronin, and Queen of Misanthropy, there is clearly more to the story than what can be contained within a single package.
Projecting a wide and complex web of lore, plot twists, and tongue and cheek humor, frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, have been producing highly detailed concept releases since their formation. And, consistently filling in more missing pieces of the puzzle with every body of work, the band equate each new record to a fresh season of The Umbrella Academy dropping on the streaming service of your choice. Because, just as a great TV series captivates viewers with its music and storytelling, the quartet’s work provides a complete experience designed to allow fans to check in with their favorite characters, all the while enjoying a cinematic new soundtrack.
For those just joining the GCU, as well as those looking for a quick refresh, 2016 debut album Fear Me introduced listeners to main protagonists Julian “Jay” Hardy, a Section 13 agent consumed by anger over his girlfriend Rachel’s death, and Jay’s gloom (later known as Sherlock Adaliah Bones), a demonic entity who at times takes over Jay’s body as a host vessel. 2017 EP Homecoming tells the tale of Jay’s brother Ethan, a war veteran suffering from PTSD, who upon discovering his brother’s struggle, kills himself as part of a Dante-style rescue mission to bring Rachel back to life. In 2019 EP Flesh and Bones, we’re introduced to Clara Carne, a past witness to one of Jay and Sherlock’s crimes, who instead of taking revenge, began a twisted love story with Sherlock, only to be murdered by his forced hand. And 2020’s Ultima Pluvia EP where we finally learn of Sherlock’s past as an ancient warlord under the tyrannical King Baphicho, and see Sherlock and Jay’s deaths ushered in by Section 13 opponent and New Order leader Elias DeGraver and his gloom Atticus Encey.
After 2016’s Fear Me, the band admit that their original intention was to jump straight into the events of Trinity before pivoting to create Homecoming, Flesh and Bones, and Ultima Pluvia. However, upon reflection, primary storywriter Mikey Arthur believes that pushing the timeline back actually provided greater opportunity for the group to properly flesh out the songs and plotlines for their sophomore studio record.
Indeed, while Trinity re-introduces the three central “heroes” of this new arc, it’s important to understand that while familiar, the characters are not carbon copies of who they were earlier in the story. And neither is the band who brought them to life.
Fully embracing the weird and whacky has never been a struggle for The Gloom In The Corner. Rather, it’s together with this attitude that the group come away with special moments such as the fascinating old and new dynamic between neighboring tracks “Red Clouds” – a song whose initial version predates the formation of The Gloom In The Corner as an official band – and “Gravity” in which a demo intended for future material was adjusted to fit the sonic drop.
Mirroring this evolution in the band’s musical approach, a sense of growth can also be seen projected in the characters and story that the quartet chronicle across the thirteen tracks.
Classifying their individual sound as an intricate form of “cinema or theater-core” due to the depth and breadth of their musical approach, features, samples, symphonic elements, and conceptual nature, The Gloom In The Corner continue to prove that they’re more than just a simple concept band.
In fact, similar to character theme music in movies and video games, the group seamlessly play off their diverse sonic story in a variety of ways. Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from Fear Me into an impactful moment in Trinity’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.
Listeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. Described as a 50/50 split between notable talents such as Ryo Kinoshita (Crystal Lake), Joe Badolato (Fit For An Autopsy), and Lauren Babic (Red Handed Denial), as well as talented friends and family like Elijah Witt (Cane Hill) and Mikey’s sister Amelia Duffield, each featured artist brought their own touch and realistic spark to the characters they portrayed.
For in the end, as much as Trinity and it’s cast live within the confines of their own supernatural worlds, themes such as falling out of love (Gatekeeper), battling depression (Obliteration Imminent), and standing behind women’s empowerment (Nor Hell A Fury), are ones that many can relate to or understand. And, while most individuals may avoid drowning their woes by way of transforming into full-on egotistical murderers like the Queen and King of Misanthropy and the gang, The Gloom In The Corner have illustrated that time and time again, life’s a little more fun when you can crack a smile. Taking a page from the trinity’s playbook: try to avoid the end of the world. But if you can’t…at least spend it with a killer soundtrack.
Public Possession proudly presents Aiden Ayers debut album „Venus Copper Rose“. A few words by the artist himself: „ Venus Copper Rose came to me in a dream. The three words are all the same thing, symbols of beauty and material formations of love. Together they are a VCR (videocassette recorder) - a memory machine, a portal into fantasy and myth + a transcriber of dreams. The songs on the album represent the past five years of my life. The oldest of them were written and first recorded in 2017 and the youngest barely made it to the mastering session on time. I am always writing and recording, travelling to and fro, on little islands off the coast of BC, down to the California desert, or in makeshift basement studios throughout Vancouver. Every song has grown up and been captured in a different way - the album is a wild garden of misfits, flowers and weeds. I hope that people feel nourished by this album - I believe that is the ultimate role of music, like another kind of food, light, or love. I hope these songs and this album can help people see the beauty and poetry that flows through their own lives.“
"The LP "World of Blue" features Merlo Podlewski on guitar. I first met Merlo in 1994. My sister Rachel Haden, who had been working with him at the Rhino Records store in Westwood, knew I was looking for a new guitarist for my band, and introduced us. Merlo is one of those guitarists whose playing is so smooth and effortless he makes anyone feel like they can play. He had an instinctual grasp of harmony and theory, which brought a great counterpoint to the technical knowledge and finesse of lead guitarist Ken. At a certain point that year we were ready to record our first 7" single, and I reserved some time at Poop Alley. Tom Grimley converted an auto-repair shop into Poop Alley Studio. The walls and floors were made of concrete, and there was no soundproofing. The mixing board was in a loft up this steep staircase with no guard rails. But it worked somehow. On the particular day we recorded basics there was a rain storm which you can clearly hear in the background. We set up and it started raining. Tom put a microphone outside. After tracking was finished, Petra came over and overdubbed violin. There was a cushioned area where I remember sitting during mixdown. There were little stacks of Aphex 16-track tape everywhere. We stayed good friends with Tom. We recorded a couple more songs with him the following year. Luckily for us, the tapes still exist. On those tapes are five songs, all of which are represented here. "I Lied" and "Her Used-To-Been" were released on the 7", the remaining three have never been released before now." - Josh Haden
1961 schenkte Rolf Zuckowskis Vater ihm eine Gitarre. Als Mitglied der Schulband „The beAthovens“ des
Albrecht-Thaer-Gymnasiums in Hamburg, das er besuchte, war Rolf Sänger und Gitarrist; dort sammelte er
1964 erste Erfahrungen in der Musik. Das einzige Album der Band, „Happy to be happy“, mit ersten von
Rolf geschriebenen Songs im damals typischen Beat-Sound, bedeutete 1967 den Anfang seiner Musikerkarriere. Anlässlich Rolf Zuckowskis diesjährigem 75. Geburtstag wird diese Rarität nach 55 Jahren erstmals
wieder auf Vinyl veröffentlicht! Titel wie das von Rolf ganz im Stile der frühen Beatles geschriebene und
gesungene ”Little Darling” oder das seinerzeit besonders beim weiblichen Publikum beliebte „Paradise“
sind eine tolle Entdeckung nicht nur für Oldie-Fans!
"Under This Hunger Moon We Fell" is the new album from the uniquely talented, multi-instrumental artificer Lomond Campbell, the third and final instalment of his experiments using tape loops at the heart of his music making process. Campbell notes that "as the album was nearing completion there was a particularly dramatic Supermoon called a Hunger Moon. Apparently it has this name because it occurs right at the end of winter, when predators are at their most lethal and desperate, and those seen as less powerful are preyed upon". These themes can be clearly heard on an album that feels cold and bleak in tandem with moments of vulnerability and tenderness. "Under This Hunger Moon We Fell" stalks from the shadows with a natural, quiet confidence before exploring more carnal heaviness and occasionally brutal displays of dramatic tension. It meditates in cycles and is at both times predator and prey, conveying the balance of these relationships with its cinematic compositions. The album ranges from soft, delicate atmospheric musings such as "Bastard Wing" and "Leave Only Love Behind" to the dark electronics of "And They Are Afraid Of Her" and "Phonon For No One", which Campbell describes as "akin to a massive machine starting up, like a huge sinister power mobilising". During its gloomier moments, "Under This Hunger Moon We Fell" buries tonally ambiguous ambience underneath hazy, distorted textures created via the gradual degradation of the tape. It creates a dream-like backdrop with a moody undertone created by deep basslines and hulking percussive elements, blended with orchestral sounds that add an air of humanity. Although his music is grounded in sound it often incorporates sculpture, engineering, product design and visual art. Using a combination of hardware hacking and industrial manufacturing techniques, Lomond builds his own unique instruments and devices for creating sound which he combines with modular synths, piano and voice. The album also sees Campbell"s vocal debut on "For The Uncarved", having originally written the part for a friend. "I was supposed to be recording her album in my studio The Lengths, but she was struck down with Covid so the session was scrapped. It felt like the album needed some kind of human element so I resorted to singing the part myself". "Under This Hunger Moon We Fell" concludes a trio of albums using tape loops, which was kickstarted with an email from Lomond"s long-time friend and collaborator King Creosote. He was looking for a custom tape looping machine so Lomond set about designing and building a unique music machine, inspired by Reich and Basinski, that plays 10 second tape loops which disintegrate over time as they pass near a rotating magnetic disc. Campbell built and then tested the machine by recording a series of improvisations with it which became LUP, the first album in the trilogy.
“The Icelandic artist with the crystalline falsetto” - NPR
“From the luminous and atmospheric soundscapes
that he cultivates, to his meticulously chosen phrasing,
there is a distinctive sense of circumstance and
identity ingrained within his very nature” - The Line Of
Best Fit
As one of Iceland’s most successful exports, singersongwriter Ásgeir has spent the time between his
record-breaking debut and today pushing the
boundaries of his textured, thoughtful brand of folkpop.
New album, ‘Time On My Hands’, sees Ásgeir in a
state of self-reflection and experimentation, having
spent much of the last few years in his home and in
the studio deeply engrossed in writing, recording,
translating and producing.
On this album he’s entered new realms of composition,
sensitively layering acoustics with electronics and
brass.
As with some of his previous work, most notably
2017’s ‘Afterglow’ and 2020’s ‘Bury The Moon’, Ásgeir
plays with euphoric and choral elements of electronic
pop music while keeping a tight grasp on the
introspective, vocal-led style of the acoustica that
made him famous.
“A fidgety, unique prospect, and one it’s impossible
to take your eyes off” - DIY
“Ghost Car know how to put together a bubblegum
take of garage-pop goodness, that’s for sure” -
DORK
London-based international punk quartet Ghost
Car announce their debut album, 'Truly Trash’, a
riotous, quick-witted collection of 11 garage-rock
bangers.
The album provides Ghost Car with a platform to
rage against political injustices, as their unified
battle cries attack patriarchal inequality,
homophobia, racism and toxic relationships.
‘Truly Trash’ is a call to reclaim autonomy and to
revolt against the powers that uphold an archaic
nationalist system.
Press - Reviews & features in New Noise Magazine, RNR.
Radio - 6 Music Steve Lamacq Roundtable, Amy Lamé,
Radio X X-Posure.
Online - Reviews, features & premieres for The Line of
Best Fit, Loud & Quiet, New Noise Magazine, Vive Le
Rock, Get In Her Ears, Louder Than War, Raw Meat.
Tourdates - November 24 The Lexington London,
December 9 The Hope & Ruin Brighton.
