Pop & Rock Vinyl New Releases - News

Besucher:innen des Newport Folk Festivals wurden im vergangenen Sommer Zeugen eines ganz besonderen Momentes: Joni Mitchell kehrte am 24. Juli 2023 nach 20 Jahren auf die Bühne zurück und spielte ein eindringliches Set, das einige ihrer großartigsten Songs
beinhaltete.

Es war das triumphale Bühnen-Comeback der Frau, die nicht wenige für die größte Singer-Songwriterin aller Zeiten halten.

Erhältlich ab 28. Juli als CD-, 2-LP, außerdem gibt es eine Version in durchsichtigem Vinyl im Indie-Handel ++ Produziert von Brandi Carlile und Joni Mitchell (mit Linernotes von Cameron Crowe )

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

Dream Theater-Keyboarder Jordan Rudess ist kein Unbekannter, wenn es um Experimente geht. Er hat den Ruf, kreative, klangliche und technologische Grenzen gekonnt zu überschreiten. Sein neuestes Werk, das Soloalbum "Permission to Fly", verkörpert dieses Ethos und beschäftigt sich mit der Komplexität der menschlichen Existenz in unserer facettenreichen Welt. Mit Darby Todd (Devin Townsend) am Schlagzeug, That Joe Payne am Gesang, Steve Dadaian an der Gitarre und Bastian Martinez als Gast-Gitarrensolist hat Rudess diesmal eine Kerngruppe von Musikern zusammengestellt, die seine Vision unterstützen und erweitern. "Permission to Fly" ist eine abwechslungsreiche Sammlung, die von ausgefeilten Prog-Kompositionen bis hin zu mitreißenden Balladen reicht. Die Songs erforschen verschiedene Themen - von alltäglichen menschlichen Kämpfen bis hin zu übernatürlichen Phänomenen. Jeder Song ist eine eigenständige Reise, aber in seiner Gesamtheit enthüllt das Album eine musikalische Odyssee durch das breite Spektrum menschlicher Erfahrungen.

Jordsjø ist ein Duo aus Oslo, inspiriert vom französischen Composer Olivier Messiaen über Popol Vuh, Anthony Braxton, skandinavische Folklore und Jazz bis hin zum frühen britischen Prog. Jordsjø steht in der Tradition einiger der besten nordischen Rockmusiker des letzten Jahrhunderts und schafft es, Progressive Rock mit fantastischen Melodien und einem folkigen Touch zu verbinden. 'Salighet' ist das vierte Studioalbum der Band. Die sieben neuen Tracks ergeben eines der wohl besten Prog-Alben des Jahres 2023. Sie erforschen durch Kompositionen und Texte unterschiedliche Formen der Ekstase. Sei es in Form von Tanz, einer Bergwanderung, einem Märchen, religiösen Grübeleien oder anderen inneren Reisen, zu einem farbenfrohen symphonischen Folk-Rock-Sound. Die Musik ist ein Kontrapunkt zum alltäglichen Leben und sehnt sich nach Geheimnissen und alternativen Realitäten - mit großer Dynamik und Dramatik, immer auf der Suche nach einer guten Melodie. Das Album lässt sich von nordischem Jazz und Volksmusik, klassischer Musik des 20. Jahrhunderts und Rock der 60er und 70er Jahre inspirieren und kreiert so eine eigene starkes musikalische Identität.

Jordsjø ist ein Duo aus Oslo, Norwegen, inspiriert von alten Horrorfilmen, deutscher Synth-Musik der 70er, schwedischem Prog, Fantasy-Romanen und der norwegischen Natur. Auf 'Jord Sessions' gibt es ein grundlegendes Thema von Entfremdung, Wurzeln und Träumen - mit einem organischen und dynamischen Sound, der Assoziationen an 70er Prog weckt, mit Spuren von elektronischer Musik und Folk. Viel Flöte, Gitarren und eine große Auswahl an Vintage-Synthesizern verleihen dem Album einen warmen Vintage-Sound, während es immer noch frisch und interessant klingt. Die Band besteht aus Multiinstrumentalist Håkon Oftung (Tusmørke, Black Magic) und Schlagzeuger Kristian Frøland.
CD sowie eine kleine Auflage Coloured Vinyl!

180 g clear transparent Vinyl

[f] B1 Follow The Drinking Gourd; Arranged By [Arr. By] – Jorma Kaukonen; Written-By – Traditional

The songwriter Joseph Allred is always prolific, but breaks up their string of solo releases for one of the most orchestrated offerings since the excellent Branches And Trees. Allred’s often monastic guitar works are fleshed out here on Old Time Fantasias, turning them towards ensemble visions of country, Americana, and Appalachia. Album opener, “The Groundhog,” features the distinctive piano of Hans Chew, with bass from Daniel Kimbro and brass from Mikey Allred. Elsewhere the new album features Kelby Clark, Courtney Werner (Magic Tuber String Band), Evan Morgan (Magic Tuber String Band), Lydian Bramblia, and Jack Bird in the mix. “I started recording this album in Spring ‘23, thinking I might be making a mostly solo acoustic album with a couple of duets thrown in for good measure. I met Hans Chew at a Nashville show a few months earlier and sent him a few tracks to see if he wanted to add anything to them. Before long the ‘solo acoustic album’ had given way to what’s probably the most involved and densely orchestrated album I’ve made to date. “I enjoyed following some threads of influence that aren’t as easily discernible in my solo playing—I hear some classic country and psychedelic flourishes, baroque pop glockenspiel and horns, percussion ideas that may be cribbed from Danny Elfman and Tom Waits albums, nods to post-rock-filtered western guitar twang, and a little Cocteau Twins dreaminess. “All in all this was a satisfying record to make. I’m especially grateful to the collaborators for adding their touches and making it a less solipsistic affair than it would have been otherwise. The political climate has changed so much over the last two years that I find it hard to imagine I could make a record with this kind of fantastic mood if I started now. I hope that it can maybe re-enchant those of us who are felling disillusioned.” —Joseph Allred

Joséphine Baker, chanteuse, dancer and star of cabaret, movies, musical hall and jazz was an electrifying personality. She was also one of the bravest and most inspiring women of the 20th century who took an unwavering stance against racism and intolerance. American born, she was fêted in France where she lived for most of her extraordinary life. This compilation features examples of her finest works in Dis-Moi Joséphine, La Petite Tonkinoise, J’ai Deux Amours and thirteen more tracks which celebrate her unique body of work.

"Very Best Of Josephine Baker" includes the following tracks: "Dis-Moi Joséphine?", "Ni Toi Ni Moi", "De Temps En Temps", "La Conga Blicoti" and more.

"20th Anniversary Deluxe Edition of Closer, Josh Groban’s enduring classic second album from 2003. The album has sold over 6 million copies in the US and features the multi-platinum smash “You Raise Me Up,” plus, “Remember When It Rained,” “When You Say You Love Me,” “Per Te” and more.
The Deluxe Edition contains the remastered original album, plus six rare or unreleased bonus tracks including a never-before-heard extended version of “You Raise Me Up” and a newly recorded, acoustic rendition of ""Broken Vow” featuring David Foster on piano.
Thie track was recorded/filmed during a session for a 15-minute Closer 20th Anniversary Mini-Documentary that will be released, featuring the two collaborators in conversation about the making of the album. "

Sermon On The Rocks is Josh Ritter's eight studio album, released in 2015. Singles from the album include "Getting Ready To Get Down" and "Homecoming." According to Ritter, the album is "messianic oracular honky-tonk." Produced by Trina Shoemaker and Josh, the 12-song album was recorded over two weeks at New Orleans’ The Parlor Recording Studio and features Matt Barrick from The Walkmen on drums, Zachariah Hickman on bass, Josh Kaufman on guitars, and Sam Kassirer on keyboards. Josh Ritter is the definition of an experienced songwriter. After graduating from Oberlin College in 1999 Ritter devoted his life to a songwriting career, releasing albums independently and garnering word-of-mouth popularity. He eventually caught the attention of Irish- songwriter Glen Hansard (writer of the song 'Falling Slowly' from the movie Once) and was invited to be the tour opener for his band The Frames. This then resulted in Josh gaining international success, with his third record 'Hello Starling', becoming a charting hit in Ireland. His songs have been featured on the TV show Parenthood, and in movies like The Other Woman and Typeface. Josh Ritter has so far released 7 studio albums, is an author, husband, father, and is considered one of the best living songwriters by Paste Magazine.

Singer/Songwriter Joshua Ray Walker’s made a name for himself with poignant, human portraits of flawed, fascinating characters. Now, on his latest album, Ain’t Dead Yet, Walker’s telling a more personal story – his own. “Human beings are super multi-faceted, and part of the reason I wrote about characters in the first place was because I could explore things about myself that I didn't feel comfortable exploring if I were to admit that it was really about me,” Walker says. “All my songs are about parts of me, I just didn't try to stick them on another fictional character this time.” Beneath the album’s flippant title resides some of Walker’s heaviest storytelling yet. Three years ago, when he started writing Ain’t Dead Yet (his sixth studio album, to be released May 29 via Thirty Tigers/East Dallas Records), Walker hadn’t yet received the cancer diagnosis that rearranged and threatened his life (he currently has a clean bill of health). But that year was still uncommonly fraught with mental, physical, and career stresses. Pulling the songs out of the can to finalize them for the album – including re-writing and re-working almost all the songs – Walker, who was then undergoing and recovering from cancer treatment, was surprised by their prescience.

Josiah and the Bonnevilles is the band name for singer-songwriter Josiah Leming, a powerful acoustic performer and prolific singer-songwriter amassing attention from millions across the globe Described as "self-taught," Leming has been traveling across the United States since he was 17 years old, and even had a brief stint on American Idol in 2007. Lemings' Country Covers I & II and Endurance are among his most popular self-released albums. Following the release of these 3 titles, in 2024 he completed his first ever sold out headlining tour. As Is, produced by Konrad Snyder and Josiah Leming features co-writes with Marc Scibilia, Colin Pastore, Jake Finch, Natalie Hemby, Todd Clark and more. As Is is an album full of reflection, resilience, heartbreak and love.

"Frontiers", zu deutsch Grenzen, haben die Mitglieder von Journey stets durchbrochen: Revolutionär "mixte" die Band aus San Francisco härteste Rockklänge mit Jazznoten und gefühlvollsten Melodien. U.a. mit "Faithfully" aus dem Longplayer "Frontiers" (1980) konnten Journey neben einer fulminanten Tour wieder höchste Chartplatzierungen verbuchen.

Im Rahmen der aktuellen Sommer-Europa-Tour erscheint der Journey-Klassiker "Frontiers" in brandneuer geremasterter Version. Für alle Alt-Rocker und Jung-Begeisterte ein Muss!

A new pressing, limited to 500 copies on red vinyl. Joy Division live at the Leigh Rock Festival in 1979. It has a gatefold sleeve with previously unseen Leigh festival images. This item will only be manufactured for a short period of time so will be very limited. Order now. The Leigh Rock and Music Festival was a 3-day mini-festival co-hosted by Zoo Records and Factory Records, held in Leigh on 25, 26 & 27 August 1979. Factory gave the event the catalogue number Fac 15 and the title 'Zoo Meets Factory Half-way'. The roster included A Certain Ratio, Joy Division, Crawling Chaos, The Teardrop Explodes, OMD, and Echo and the Bunnymen. The event was so titled because the town Leigh is Half-way between Liverpool (the home of Zoo) and Factory. Catalogue number also allocated to a poster for the event which was designed by Peter Saville. Tracklisting : Side One : 1 Disorder/ Stage Announcements 2 Leaders Of Men 3 Colony 4 Insight 5 Digital. Side Two : 6 Dead Souls 7 Shadow Play 8 She’s Lost Control 9 Transmission 10 Interzone 11 Sound Of Music- Intro.

Originally put together by a couple of Belgian Joy Division experts to celebrate the 25th anniversary of the sadly missed Ian Curtis-and the year that the Ian Curtis Movie began to be made. Now the movie is out to much critical acclaim. This album contains extremely rare audio interviews with all members of Joy Division - some of which have never seen the light of day before plus spoken word contribution on one number from Martin Hannett and a rare Martin Hannett interview. The interview sections are interspersed with superb live performances from various venues through the career of the band including rarities from Dutch and Belgian concert performances and a couple of rare alternative studio outtakes. The gatefold sleeve contains lots of Joy Division images and a detailed biographical article on the band.

A repress of this long out of print album. 300 only LPs some on Yellow vinyl and some on Green vinyl randomly picked. Gatefold sleeves with 180gm vinyl. Discovered by friends of Martin Hannett and with input from one of his relatives,these recordings give a rare insight into his production ideas for Joy Division and his relationship with the band.,the strange things/ sound effects they recorded in the studio together etc etc. The studio chit chat and interplay between Hannett, Gretton and Joy Division members is all here as Martin left his own tape machine running throughout studio sessions. On this album we have rare alternative mixes of Joy Division that were Martin's personal favourites and he had the forethought to get the band members to give him control of these recordings. A must for all Joy Division fans.

Tracks recorded at Arrow Studios Manchester, Eden Studios London and Strawberry Studios Stockport (April 1978 to April 1979). All studio sessions mastered for optimal results

racks recorded at Piccadilly Radio,Pennine Sound Oldham, Graveyard Prestwich Eden Studios London and Strawberry Studios Stockport (April 1979 to January l 1980). All studio sessions mastered for optimal results

Spinning the raw emotions and unfettered delivery of power pop and emo, California outfit JOYCE MANOR emerged in the late 2000s with a blistering punk sound on their eponymous debut (2011) and follow-up Of All Things I Will Soon Grow Tired (2012). Developing restraint and slowing things down, they took cues from pop-punk and indie rock on their Epitaph label debut Never Hungover Again, which drew upon influences Weezer and Jawbreaker, a maturation that continued on 2016's Cody and 2018's Million Dollars to Kill Me. Based out of Torrance, California, JOYCE MANOR got its start in late 2008, conceived as the acoustic pop-punk duo of Barry Johnson (vocals, guitar) and Chase Knobbe (guitar). That idea didn't last long, however, and the band ultimately expanded, with friends coming and going until the lineup settled down a year later. JOYCE MANOR return with Songs From Northern Torrance: a collection of b-sides and alternate versions of fan favorites pulled from the band's personal archives. The album kicks off with "House Warning Party," a one-minute blast of lo-fi goodness that offers a glimpse into the band's humble beginnings as a two-piece folk-punk outfit. Lyrics of suburban angst forge with upbeat drums and swift, jangly guitars that make it impossible to not bounce your head along to. As a band who have come to define West Coast indie-punk, JOYCE MANOR remains one of the most popular bands in the genre and this track is a rarity their fans will surely love.

Fresno is the highly anticipated 6th studio album by Joyce Manor
Produced by Rob Schnapf, this 9 song album is an honest, hard-hitting, post-emo,
power pop masterpiece packed with the elevated writing and earnest delivery
Joyce Manor is loved for.Joyce Manor is a band from Torrance, CA consisting of
Barry Johnson (vocals/ guitar), Chase Knobbe (guitar), Matt Ebert (bass), Neil
Hennessy (new drummer, from The Lawrence Arms). Johnson and Knobbe
started the band in 2008 in the Disneyland parking lot, named after an apartment
complex that Johnson would walk past every day. Joyce Manor made their debut
as an acoustic two-piece. Quickly they learned that playing loud was much more
fun and invited friends to join the lineup. The band has released five studio
albums; Joyce Manor (2011), Of All Things I Will Soon Grow Tired (2012), Never
Hungover Again (2014), Cody (2016), and Million Dollars to Kill Me (2018).
Joyce Manor has toured extensively and their live show has been the driver
behind the band's success. They have made festival appearances at FYF Fest,
Coachella, Riot Fest and since the release of their last studio album in 2018, the
band has headlined NYC Central Park SummerStage, sold out two nights at the
Palladium in LA, and sold out two matinee show at LA's historic Union Station.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

**RED VINYL**Bookending “This Is My Blood “ are two cinematic hypnotist slide lute pieces that evoke contemporary deserted landscapes. They were improvised and made for “ Maquina”, a film shot in the Colorado desert during a psychedelic trip by film maker Joaquim Pujol. The works on here, like the ecstatic second piece invite a return to long form listening. They explore contemporary darkness and contemplate personal loss. There is solely one vocal piece, “ Remission”. A worldwide concert tour of this material is slated for 2026/2027. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him "probably the most famous lutenist in the world”. Jozef Van Wissem is an avant-garde composer and lutenist who plays a unique all-black baroque lute. His timeless music is often described as hypnotic, minimal, and hauntingly atmospheric, merging beauty with a dark, meditative edge. His lyrics have a mythical Christian appeal, incorporating themes of love, faith, and the afterlife, often with a repetitive, mantra-like quality. Bridging classical traditions with modern sounds like drones, electronics, field recordings and voice. He collaborates with filmmaker and musician Jim Jarmusch, including the award-winning soundtrack for Only Lovers Left Alive, for which Van Wissem won the Cannes Soundtrack Award in 2013. He also scored the Sims Medieval Video game ( 2011), Uncle Howard ( 2016) Land (2018), Irma Vep (2022), Queens (2023) and Un Prince (2024). He did a world tour in duo with Jarmusch in 2025 and their 5th record “ The Day The Angels Cried” was released. Van Wissem tours extensively, performing in diverse venues from rock festivals to churches, and has worked with artists like Tilda Swinton and Zola Jesus. In 2019 he was commissioned by Cinematheque Francaise to score the silent horror film Nosferatu (1922). He released the soundtrack in 2022 on his own Incunabulum label. The New York Times wrote: Beginning with a solo played on the lute, his performance will incorporate electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. “My soundtrack goes from silence to noise over the course of 90 minutes,” he said, culminating in “dense, slow death metal.” In 2024 Van Wissem did a sold out nationwide American tour with the film. A worldwide tour is slated for 2026/2027

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. The follow up to “American Landscapes “ entitled “ The Day The Angels Cried” releases June 6 and coincides with a world tour. The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called “New Music for Early Instruments.” The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem’s compositions, and sees himself as someone filling in the background to Jozef ’s foreground, like the “scenic” on a film shoot, the one who paints the backdrops. “The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury.” .According to Van Wissem: We started with layers of instrumental parts.. Jim recorded a otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track " The Day The Angels Cried" The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition. “The Day The Angels Cried” ( Inc 040/41) releases June 6th on Incunabulum Records, right before the duo start their World tour. releases June 6, 2025 Jozef Van Wissem Voice, Baroque And Renaissance Lutes, 12 String Electric Guitar, Slide Guitar, Electronics, Found Recordings Jim Jarmusch Voice, Electric Guitars, Acoustic Guitars, Passerelle Bridge Guitar, Electronics, Found Recordings

Der britische Sänger und Songwriter JP Cooper veröffentlicht sein zweites Studioalbum “SHE“, auf dem
unter anderem die in diesem Jahr erschienen Singles “Holy Water“, “If The World Should Ever Stop“, “Call
My Name“, “Need You Tonight“ und “We Cry“ zu hören sind.
Über das Album sagt er: “I can’t wait to share this music with you and tell these stories.”