REMO DRIVE, the longstanding project of brothers Erik and Stephen Paulson, want you to feel something. Following a six-year run of pristine emo-influenced rock "n" roll records comes Mercy, the band"s fourth album and third for Epitaph. It"s the band"s most lyric-focused offering to date, a record about reinvention, trusting yourself, and wearing your heart on your sleeve even when it"s painful or vulnerable. Sonically, Mercy is also a major departure for REMO DRIVE. It"s less indebted to the emo and pop punk that foregrounded the duo"s career and instead invested in thorny, baroque indie pop byway of Father John Misty and Fleet Foxes. It was produced by Phil Ek, a legendary Seattle-based indie rock producer who has previously worked with those two bands as well as the Shins and Band of Horses, among others. REMO DRIVE worked with Ek over the course of ten days. "It was refreshing to work with Phil," says Erik, "It made music feel like how it did when we were younger. He was like fuck it, let"s go, let"s have fun." Mercy is a study in intimacy, in being real with yourself, in entering an exciting new creative chapter where you are making the art you really want to make. That"s where REMO DRIVE is today.
Renaissance is an English progressive rock band, best known for their 1978 UK top 10 hit Northern Lights and progressive rock classics like Carpet of the Sun, Mother Russia, and Ashes Are Burning. They have developed a unique sound that combines female lead vocals with a fusion of classical, folk, rock, and jazz influences. Characteristic elements of the Renaissance sound include Annie Haslam's wide vocal range, prominent piano accompaniment, orchestral arrangements, and vocal harmonies.
"The debut EP from renforshort, teenage angst is available exclusively on pink swirled clear vinyl. A candid stream of consciousness, it captures the messiness of growing up in today’s day and age. This EP deftly blends ‘90s alt-rock grunge with modern pop motifs. 2020, Interscope.
Das US Billboard-Nummer-eins-Album, zertifiziert als Diamant (10x Platin). Enthält die Hits "Keep On Loving You", "Take It On The Run", "Don't Let Him Go" und "In Your Letter". Neu remasterte Vinyl-Version
Limited twelve inch vinyl pressing of this 2013 EP including download code. Constructed in order to raise money for former Replacements guitarist Slim Dunlap's medical costs. Replacements members Paul Westerberg and Tommy Stinson reunited and recorded an original Slim Dunlap song plus three additional covers. Original Replacements drummer Chris Mars also recorded a Slim cover and all five tracks were combined on this limited vinyl-only release.
When Bambi and Cole Browning started writing the songs that would be become Reptaliens’ 2017 debut LP, FM-2030, they had no intention of starting a band. Focusing at first on creating music and art on a purely personal level, the project soon took off when the duo brought on Julian Kowalski (guitar) and Tyler Verigin (drums) to form a live band. The fourpiece swiftly delved into songwriting inspired by sci-fi art and literature, cult mentalities, and deep connections. The result is the band’s self-defined genre of “dreamwave,” which connected musical influences ranging from Gary Wilson-inspired jazzy lounge music, the warmth of Broadcast’s recording production, to Todd Rundgren’s outer space synth sounds.
After touring throughout most of 2017 and 2018 with STRFKR, Cults, and Of Montreal, the band returned home and went straight into renowned Portland studio Jackpot to record their sophomore LP, VALIS. Titled after the 1981 Philip K. Dick novel, VALIS is a cohesive collection of songs unified in sound and structure and supported by recurring lyrical themes, consistent with Reptaliens’ sound: 80’s analog synthesizers, tape delay echos, and a dreamy blend of guitar lines which ebb and flow throughout Bambi’s melodies. Tracks like “Shuggie 2” and “Sunrise, Sunset” are phantasmagoric, breezy and minimal, resulting in an intimate and personal atmosphere in which the listener can ruminate. Yet, the dynamism of VALIS comes from a balance between the band’s more introspective tracks with kinetic synth pop songs such as “Echo Park” and “Give Me Your Love” and and the upbeat guitar driven tracks “Venetian Blinds” and “Baby Come Home”.
With FM-2030, Reptaliens divulged tales from an etic: outsiders perspective of cult kidnappings, alien abductions, and sci-fi speculations towards potential future realities. In VALIS, the lense is turned inwards and, through the looking glass, the 12 tracks provides an emic glimpse towards the feelings and situations of the subjective experience.
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Resolution Alley is the musical vision of Jason Wilson, a musician and composer hailing from Maryland. The music combines 80's pop and rock melodies with progressive rock concepts, creating a unique but strangely nostalgic sound. Jason performs extensively throughout the Baltimore / Washington, DC area. From the smallest clubs to the Kennedy Center, Jason has shared the stage with some of the biggest names of stage, screen and music. Resolution Alley combines the influence of a career in rock and theater into a distinctive creation. Resolution Alley is getting ready to release their brand-new album Pieces of Never which contains the catchy first single "The B-Side" and follow up "You Are". Jason Wilson has crafted a wonderful release with just the right amount of balance between Rock and Prog which is sure to capture the ears of folks who like something familiar yet new. So if you like your music with big hooks and interesting arrangements and instrumentation then Resolution Alley has cooked up just what you ordered with Pieces of Never.
Reuben are a cult band with a fanatical following that still remains to this day, despite their disbanded in 2008. Double album of ‘Racecar Is Racecar Backwards’ (2004) and ‘Very Fast And Very Dangerous’ (2005). This is a reissue of the first two Reuben albums released on Xtra Mile (‘Racecar Is Racecar Backwards’ was the very first album Xtra Mile Recordings ever solely released) – packaged together for the first time in a double gatefold vinyl, with new artwork from famed illustrator and the band’s frontman/guitarist Jamie Lenman. Jamie Lenman is now a successful solo artist.
Both albums are individually currently out of stock on vinyl so this special release will be the only way to buy them. ‘Racecar Is Racecar Backwards’ helped earn Reuben a Kerrang! Award nomination for Best British Newcomer and spawned such classic singles as ‘Freddy Kreuger’, ‘Moving To Blackwater’, ‘Stuck In My Throat’ and ‘Let’s Stop Hanging Out’. The follow-up Very Fast Very Dangerous was produced by Chris Sheldon (Biffy Clyro, Foo Fighters) and features the singles ‘A Kick In The Mouth’ and ‘Keep It To Yourself’ as well as the epic ‘Every time A Teenager Listens To Drum & Bass A Rockstar Dies’. It entered the UK Rock Chart at Number 4. The videos to the singles from both albums were regularly aired on MTV2 and Scuzz with plays on Radio 1 Rock Show, XFM, Team Rock, Kerrang Radio and Amazing Radio. Press features and support from Kerrang!, Rocksound, NME, Classic Rock, Team Rock, Big Cheese and Metal Hammer.
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In the summer of 2000, school friends Mark Lawton, Jon Pearce and Jamie Lenman won a battle-of-the-bands competition and used the prize money to record the five tracks that would become their first professional release, entitled Pilot. Then called Angel, before the EP was released on local label Badmusic they changed their name to Reuben and were over the moon when the record received notices in Kerrang and even a spin from Steve Lamacq on Radio One. “We were just a school band, but we definitely had grand plans,” says Lenman, now a successful solo artist in his own right. “We changed our name because we knew we’d have to do it at some point, and we didn’t want the EP to get forgotten.” Despite selling out several modest runs on CD, Pilot was never issued on vinyl, and so to celebrate the 21st anniversary of its release, the five original tracks have been re-mastered and pressed onto wax. But more than this – after a chance discovery of five extra tracks on a DAT tape in a loft, Pilot has been bumped up to album status with the inclusion of a second side. “I always thought we’d only recorded those five tracks before Mark left – I’d completely forgotten about the recordings from the end of the same year,” says Lenman. “They were just demos of new material, they were never meant to be packaged together with the tracks from Pilot – in fact, you can already hear how the sound was starting to change in just six months. But they do make a nice set, and I guess if that original line up of the band had made a full album before Racecar, this is maybe what it might have sounded like.” The album inlay itself boasts a hoard of unseen photos from both recording sessions, unearthed after two decades, as well as the original EP inlay and the unused cover art credited to Angel instead of Reuben – hence Pilot Angel.
Wiederveröffentlichte 2024er Pressung dieses unglaublichen Garagenrockwerkes! "The Ultimate Gospel Blues Trash experience recorded in 2001 London on the EMI Redd 17 desk (Abbey Road Studios) by Liam Watson this is pure Dirty ,your parents would not like it' Primitive Rock'n'Roll swearing and blood spiting preaching Raw Garage punk mixed up LO-FI Trash out of control Blues Trash at its best" - RBM, VVR Nach der Trennung vom Wrestling Rock'n'Roll Project Lightning Beat-Man musste der Beat-Man ins Krankenhaus und sah mit eigenen Augen den Tod. Jetzt, Jahre später, ist er zurück mit neuen Kumpels und einer neuen Mission: der Gospel Blues & Trash Mission. 1983 begann er als Ein-Mann-Band, für dieses Album heuerte er die Un-Believers an (Gery Mohr und Robert Butler von den Miracle Workers, Janosh von den Monsters und Gringo Starr, der auch bei den Never Heard Of'Ems, Lightning Beat-Mans Backing Band, spielte) und ging zusammen mit Liam Watson (Bristols, Masonics, Headoats_) in Londons berühmtes Toe Rag Studio, um diesen speziellen Swamp-Blues-Sound auf die Platte zu bekommen. Predigtlieder, Lieder über das Töten von Nachbarn, Predigten über das Abschneiden von Fingern, Lieder über den Gang ins Gefängnis, den Gang aus dem Gefängnis und sogar über das Verlieben und den Gang in die Hölle. Mach dich bereit für eine Menge Slide-Gitarren-Action und Mundharmonikagedröhne, Blues im Stil von Howling Wolf und Gun Club-ähnlichen Trash-Rock'n'Roll. Schwarze LP, Insert, Download Code
Revolution Saints, die Band um Sänger und Schlagzeuger Deen Castronovo, mit ihrem 4. Album und neuer Besetzung. Deen Castronovo (Journey, Bad English, Hardline) wird jetzt von Bassist Jeff Pilson und Gitarrist Joel Hoekstra begleitet. Castronovo war schon immer ein großartiger Schlagzeuger, aber Fans, die seinen Backgroundgesang im Laufe seiner Karriere bemerkten und Journey-Shows besuchten und sahen, wie er während des Sets der Band den Leadgesang auf "Mother, Father" übernahm, erkannten, dass er auch eine erstaunliche Stimme hatte. Revolution Saints war immer ein Band, um der Welt Deens unglaubliches Gesangstalent zu zeigen. Revolution Saints brachten den klassischen melodischen Rockstil zurück, der in den 80er und 90er Jahren Legionen von Fans begeisterte und bis heute tut. Inspirierender, erhebender Gesang, aufsteigende Melodien und einprägsame Hooks. Deen, der kürzlich zu Journey zurückgekehrte, wird unterstützt von Joel Hoekstra, aktuelles Mitglied von Whitesnake, Trans-Siberian Orchestra und Iconic, Joel Hoekstra's 13, ist ein atemberaubender Gitarrist. Jeff Pilson, derzeit Mitglied von Foreigner, Black Swan und The End Machine, und natürlich auch bekannt von Dokken. Zwei herausragende Musiker, die Deens Gesang und Trommeln perfekt ergänzen. Fans der ersten drei Alben von Revolution Saints werden von dem brandneuen Album "Eagle Flight" begeistert sein.
Die aus erfahrenen Musikern bestehende junge Band REXUL, stammt aus NRW/Deutschland und präsentiert uns hier nun ihr Debüt Album "Erebus... Virtuosus... Alpha...". Ein wahrer musikalischer Hassbrocken, satanisch, fies und brutal gibt es hier 13 Tracks (inkl. Intros/Outros) in die Gehörgänge geballert. Purer, klassisch amerikanisch geprägter, wuchtiger Death Metal für Fans von BRUTALITY, MORBID ANGEL oder DEICIDE. Definitiv ein Death Metal Highlight !!!
"Erebus... Virtuosus... Alpha..." wurde durch B. Oprea aufgenommen, gemixt und Gernhart Studio Troisdorf gemastert. Das Cover Artwork stammt von S. Milizia.
"Wer auf MORBID ANGEL, DEICIDE, MONSTROSITY oder auch NOCTURNUS steil geht und dabei seine Lauscher auf Anspruch und Qualität eingestellt hat, sollte hier zuschlagen" - Rock Hard Magazin
"Rexul vermengen auf ihrem sehr geilen und packenden Debüt "Erebus... Virtuosus... Alpha..." gekonnt verschiedene Merkmale des US-Death Metals der frühen 90er zu einem spannenden, feurigen und virtuosen Glutofen des Todes voller Killerriffs und Brutalität! Old Skull-Sickos müssen hier unbedingt reinhören!" - Hotel 666
"REXUL legen ihr erstes Album vor und huldigen dem Ami Death Metal der frühen 90er Jahre." - Twilight Magazin
"Die Burschen sind vom amerikanischen Death Metal beeinflusst und bieten sehr gute Kost für Fans von Morbid Angel, Deicide, Immolation und Brutality an." - Time For Metal
"...eine gelungene Mischung aus Melodie und eingängigem Todesblei, ohne dabei das Ziel aus den Augen zu verlieren- eine eingängige Scheibe zu präsentieren, die sich ohne Probleme schnell ins Hirn frisst." - Raben Report
"Rexul plays old-school death metal with a stronger link to genre veterans like Morbid Angel and Deceide. With this Floridian death metal inspiration in mind, Rexul combines harsh riffs, deep growls and an atmospheric vibe in a stunning way." Markus' Heavy Music Blog
"Recommended! Category: Kickass Death Metal" Voices From The Darkside
Mit ihrem neuesten Album "Cycles In The Infinite Dream" bündeln REZN die erdrückende Wucht ihres gesamten klanglichen Arsenals mit himmlischen Melodien und einer synästhetisch aufgeladenen, geradezu erhabenen Atmosphäre - und zwar so nahtlos, dass es beinahe jenseitig wirkt, als befände man sich in einem Grenzbereich zwischen zwei Realitäten. Während sich REZN in den ungezügelten Sphären des Metal und den grenzenlosen Weiten der Psychedelia bewegen, zeigt ihr neues Album eine Band, die mit Disziplin und klarer Intention arbeitet - selbst dann, wenn diese Absichten bewusst kryptisch gehalten sind. Wie der Albumtitel andeutet, erkundet "Cycles In The Infinite Dream" die Schnittstelle zwischen Wachzustand und nächtlicher Welt. Ähnlich wie das vom Unterbewusstsein geleitete Werk von David Lynch existiert das Album als eine Art Parallaxe zwischen Künstler und Publikum: Es erschafft einen verschleierten, verzerrten Raum, der zugleich vertraut und fremd wirkt - wie ein Korridor in die eigene Vergangenheit, in dem man die Umgebung wiedererkennt und sich dennoch in ihrer verschobenen Geometrie verliert. REZN bewegen sich seit jeher - und äußerst erfolgreich - im unterirdischen Kosmos jener Musikfans, die nach dem klanglichen Äquivalent veränderter Bewusstseinszustände suchen. Mit "Cycles In The Infinite Dream" haben sie nun ihr bislang wohl psychedelischstes Werk geschaffen. Die Vinyl-Erstpressung kommt mit einem 20seitigem Booklet (Deluxe Ed.).
Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.
In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.
The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.
On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock. He also takes inspiration from the many Brazilian greats – Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle and Azymuth (to name a few) – who he has worked with as an engineer, assistant and producer, in Rio’s former RCA studio, Cia dos Tecnicos.
As well as being heavily influenced by Brazil’s fabled Tropicalia movement, Richaid is the grandson of Brazilian actor, singer and Disney star Aurora Miranda (Carmen Miranda’s younger sister), so tropicalism is in his blood. Describing his sound as ‘Industrial Tropicalism’, Richaid’s music is undoubtedly a product of his environment. Just like Rio, it’s warm, hazy and beautiful. But reflecting the current mood of his homeland, there’s an ominous smog looming amongst its charm. Lamenting the political, economic and ecological crisis he sees engulfing Brazil, Richaid’s obscure, poetic lyrics touch on drugs, drones and darkness, emphasizing the importance of art to bring light in troubled times.
The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid’s studio smarts. Working day to day in Rio’s top studios, he developed a comprehensive knowledge of all aspects of the recording process. But seeking autonomy and total creative independence, Richaid went on an equipment finding mission in the USA. Upon returning, he set to work building his own studio in Rio’s Gavea district and began writing the tracks that would become Travesserio Feliz. Singlehandedly composing, producing and mixing everything himself, Richaid recalls the endless nights he spent working on the album, often sleeping on the studio floor.
Travisseiro Feliz features a host of notable names from across Rio’s music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist and multi-instrumentalist Jose Ibarra, who has been lauded for his recent performances as part of Milton Nascimento’s touring group. On interlude track ‘Formigas’ we also hear a few verses of Ricardo singing together with his 7-year-old daughter, Nina Richaid.
Carrying forward the Tropicália torch, the album’s cinematic opener “Maracas Enterprise/ Frio Da Manhã” is a two-part journey through Richaid’s sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed up synth stabs. A perfect example of Richaid’s industrial tropicalism, “Largado Nu” mixes soft, acoustic guitar and flutes with harder-edged synths and electric guitars, while ‘O Velho Cai’ is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado.
Living with his grandmother Aurora Miranda until the age of seventeen (who featured in Walt Disney’s Three Caballeros film, and happens to be the first human being to kiss Donald Duck… really!), young Ricardo would listen with intrigue to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother’s Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper discovering the likes of Os Mutantes, King Crimson, Frank Zappa and especially the ‘Clube De Esquina’ sound pioneered by Milton Nascimento and Lo Borges. Since then, alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio’s underground experimental psych and jazz scenes.
Following lead single ‘Largado Nu’ on the 17th January, Richaid will release his debut album Travessiero Feliz on limited vinyl, CD, cassette and digitally in March 2020, via Far Out Recordings.
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Ghosts of Princes in Towers is the only studio album by British band Rich Kids, founded in 1977 by Glen Matlock (ex Sex Pistols) and Midge Ure (Ultravox) and Rusty Egan released in August 1978 and produced by ex-Bowie guitarist Mick Ronson. Exclusive for RSD 2023, the original album will be newly remastered. Release overseen by Rich Kids Rusty Egan. Tracklisting: Side A - Strange One, Hung on You, Ghosts of Princes in Towers, Cheap Emotions, Marching Men, Side B - Put You in the Picture, Young Girls, Bullet-Proof Lover, Rich Kids, Lovers and Fools, Burning Sounds
Richard and Linda’s 2nd LP from 1974 is now pressed on 180gram vinyl and contains a Download Code. Released in 1975, ‘Hokey Pokey’ is a much jollier release than its predecessor, ’I Want To See The Bright Lights Tonight’. Richard always envisaged Hokey Pokey’ as “a music-hall influenced record”. He was a big fan of Harry Lauder and Gracie Fields, and this inspiration can be seen in the Victorian style cover by Shirt Sleeve Studio, and is audible on the title track, “”Hokey Pokey”” and also ‘Georgie On A Spree’. Richard and Linda’s 2nd album together is a mixture of darkly comic songs like “Smiffy’s Glass Eye” and the more world weary nature of ‘I’ll Regret It All In The Morning” and “A Heart Needs A Home”. There are also more sombre songs such as ‘The Egypt Room” which Richard described as “half way between The Coasters ‘Little Egypt’, George Formby, and Dickens by way of Patricia Highsmith”.
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Richard and Linda’s 3rd studio album from 1975 is now available on 180gram vinyl with a Download Code.
Released in 1975, ‘Pour Down Like Silver’ also known as “The Sufi album” due to Richard’s recent conversion to Islam, is a more restrained and spartan album compared to its lusher sounding predecessors. ‘Hard Luck Stories’ is probably the most musically upbeat song on the album and wouldn’t have sounded out of place on the previous two albums. The album contains some of Richard’s most beautiful songs including “”For Shame Of Doing Wrong””, “”Beat The Retreat”” and, particularly, “”Dimming Of The Day”” which segues into a beautiful solo guitar performance of Scots composer James Scott Skinner’s ‘Dargai’ bringing the album to a fittingly contemplative conclusion.
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I Want To See The Bright Lights Tonight Richard & Linda’s first album from 1974 is available again on 180gram vinyl with a Download Code.
Recorded in May 1973,but not released until 1974 due to an International oil shortage, ‘I Want To See The Bright Lights Tonight’ is a dark and eclectic affair with very light, despite the uplifting and almost commercial nature of the title track. Richard takes lead vocal on four of the albums twelve tracks, including fan favourites “When I Get To The Border”, “Calvary Cross”, “We Sing Hallelujah” and “The End of The Rainbow”. Linda is a perfect foil for Richard and she shines on such songs as “Down Where The Drunkards Roll”, “Has He Got A Friend For Me?”, “The Great Valerio” and the title track. The iconic cover of ‘I Want To See The Bright Lights Tonight’ by Nancy Fouts of Shirt Sleeve Studios is deceptively simple – just the title and their names written on a steamed up window.
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„Natural Rebel“ ist Richard Ashcrofts fünftes Soloalbum und präsentiert seine charakteristische Mischung
aus schwebenden Melodien und gefühlvollem Songwriting. Mit üppigen Arrangements und zeitlosen Rockeinflüssen unterstreicht das Album Ashcrofts kontinuierliche Entwicklung als mutiger und emotionaler Künstler. Ein Muss für Fans des klassischen britischen Rock.
Richard Ashcroft hat mehrere Top-3-Alben in Großbritannien veröffentlicht, darunter ein Nr.-1-Debüt. Der
Künstler hat eine treue Fangemeinde und spielt weiterhin in ausverkauften Konzerten in ganz Großbritannien.
Originally issued on Hut Records in June 2000, Alone With Everybody was eagerly anticipated, as it was Ashcroft's first recordings since the demise of the group he founded and led, The Verve - This re-issue replicates the 2000 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.
Opening the album with its string overture, "Song For The Lovers" signalled Ashcroft's intent immediately. Intensely melodic, anthemic, it picked up exactly where The Verve's 1997 multi-platinum album Urban Hymns left off. Lifted as a single, it reached No 3 in the UK and spent most of the summer on the charts.
Recorded at Olympic Studios and Metropolis in London, big, bold and frequently beautiful, Alone With Everybody raced to No 1 in early July; it played to all of Ashcroft's strengths, memorable hooks, catchy choruses, beats subtly influenced by dance music; the brass-blazing bold hoedown of "Money To Burn" was the album's second single; other highlights include the ballad "Slow Was My Heart", the upbeat joy of "C'Mon People (We're Making It Now)" and the reflective, string-enrobed "You On My Mind In My Sleep".
Originally issued on Hut Records in October 2002, Human Conditions built on the success of Alone With Everybody, retaining the new fans he had gained with that record - This re-issue replicates the 2002 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.
"It's a beautiful world," sings Ashcroft on opening track and lead single "Check The Meaning". Its eight-minutes seem a culmination of all of Ashcroft's work to date – a haunting guitar figure, swelling strings, and subtle orchestration back a lyric that catalogues the battle of love over evil, ending with Ashcroft assuring the listener "It's gonna be alright." It is a powerful beginning to a powerful album. "Buy It In Bottles" maintains the introspection of "The Drugs Don't Work", a mood that can be also found on "Running Away" and "Lord I've Been Trying"; while "Bright Lights" and "Paradise" bring the anthemic rock.
When Brian Wilson guests on one of your albums, it suggests a certain status has been attained; Richard Ashcroft demonstrated that he could hold his own in such company; both are songwriters of the human condition, and the song Wilson appears on "Nature Is The Law", closes Human Conditions in stellar fashion.
Keys To The World, Richard Ashcroft's third solo album, landed in January 2006 and quickly crept like a mile-a-minute vine to number two, whereto it clung for some time. Produced by long-time collaborator Chris Potter, it marks the former Verve frontman's last solo full-length for ten years, before its later supersession by 2016's These People. The LP leans heavy on orchestration, its string arrangements by Julian Kershaw performed by the London Met Orchestra, and electric viola parts from Bruce White sallying over its songwritten entirety. Sonically, Ashcroft dialled down the bombasticity of earlier outings for an analgesic, string-swept sound, dividing the lauds: praised by some for its melodic clarity maturer songwriting, others found it all too safe, though that didn't stop it going Platinum in the UK.
Richard Dawson is the diminutive Geordie troubadour
whose moving songs have been described as state-ofthe-nation addresses, even - or perhaps especially -
when he’s singing about pre-medieval peasants. Circle
are the genre-straddling pioneers of The New Wave Of
Finnish Heavy Metal, known for wearing spandex or
dead fish onstage and singing in a made-up language.
Together they are… Richard Dawson & Circle! ‘Henki’
is their epic joint record. It might seem a departure to
those who are most familiar with Dawson from recent
solo albums like 2017’s ‘Peasant’ and ‘2020’ (released
in 2019). In fact, ‘Henki’ fits comfortably into the bigger
picture of two acts who have always strived for
uninhibited originality.
Easily the greatest flora-themed hypno-folk-metal
record you’ll hear this year, ‘Henki’ adds an electrifying
new chapter to the remarkable story of each act,
marking the beginning of a beautiful partnership.
CD in printed inner wallet with 12-page booklet.
Double LP in printed inner sleeves plus digital
download card.
Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.
