Pop & Rock News

New project produced by Ripley Johnson of Wooden Shjips and Moon Duo fame. Packaged in a deluxe double gatefold package with original art by D. Norsen. Features special guest John Jeffrey on drums.

The album is described by producer Ripley Johnson: “The band was aiming to capture a timeless, natural sound, not quite of the present, past, or future, but phasing in between the consciousness of now and the stoned dream-state of the eternal. Sort of a back porch jam just as the shrooms are starting to kick in. Handmade and human, but also cosmic and transcendental. The goal is to let the music speak for itself and hopefully find a weird and wonderful audience somewhere out there.”

That description feels right for an album which seems perfect for those soft ephemeral moments and softly wraps you in the feeling of walking at twilight. Mellow but upbeat, it’s easy to imagine the leaves changing colours. It’s psych rock and difficult to describe without getting poetic, dreamy and insular - it’s easy to get lost in this album.
Produced and recorded by Ripley Johnson and mixed by Chris Cohen (Captured Tracks, Deerhoof), the album finds its niche in the hazy sonic landscape of private press country and psych records, alongside artists like Relatively Clean Rivers, Jim Sullivan, Kenny Knight and countless other explorers of the pastoral underground.

“The record’s a psychedelic crossroads that’s not being traversed as much these days, and as usual Johnson’s created a record that’s absorbing as its own little world. Once this hits the turntable you’re set to repeat endlessly” - Raven Sings The Blues

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

“The man singing these songs isn’t exactly the same man who wrote
them,” says Pokey LaFarge of Rock Bottom Rhapsody, his eighth and
latest studio release. “This album is about the story of who I used to
be.”
 In early 2018, LaFarge - searching for the sort of artistic freedom and
inspiration he wasn’t finding in the Midwest - relocated from his
longtime home base of St. Louis, Missouri, to Los Angeles, California.
New songs came quickly to LaFarge in his new environment but new
temptations soon found him, as well. Though he declines to get into
specifics, LaFarge admits that he experienced a significant “fall from
grace” during the last months of 2018. “Things sort of started to
unravel in my mind.” Shortly before the recording of ‘Rock Bottom
Rhapsody’ began, LaFarge experienced a spiritual awakening - and
the faith he re-embraced in his hour of darkness helped to buoy him
through the making of the album.
 Though he was struggling for spiritual equilibrium at the time,
LaFarge at least had some rock-solid musical support to lean on.
Recorded primarily at Reliable Recorders on Chicago’s Northwest
side, ‘Rock Bottom Rhapsody’ was produced by LaFarge’s friend and
collaborator Chris Seefried (who also cowrote several of the album’s
tracks) and features the considerable talents of guitarist Joel
Paterson, keyboardist Scott Ligon, upright/electric bassist Jimmy
Sutton and drummer Alex Hall.
 Musically, LaFarge continues to mix and match a wide variety of
styles and traditions, while never losing track of his own vision “This
record is kind of like Roy Orbison and Bob Dylan hanging out with
chanson singers and French jazz bands in like the forties, but I was
never trying to make it sound like a particular person.”
 Despite the trying period that preceded its recording, ‘Rock Bottom
Rhapsody’ is ultimately far more uplifting and life-affirming than its
title would suggest. “That desperation, that struggle,” LaFarge
ponders, “Did it add something to the record? It certainly did. I
mean, I don’t know if it made it better; it just is what it is. It’s not up
to me to decide if people are going to feel that…"

Hound Gawd! Records freut sich, Benedicte Brændens neue Single mit dem Titel "Can't Feel My Heart" und der B-Seite "Raging River" anzukündigen. Dies ist die erste Single des kommenden Albums, das Ende 2020 veröffentlicht wird. Die limitierte EP, die auf durchsichtigem Vinyl erscheint, wird ab dem 17. April 2020 erhältlich sein. Benedicte Brænden aus Elverum, Norwegen, liefert ausgefallenen Americana - ein origineller Sound mit einer einzigartigen Mischung aus Country Noir und einem Hauch von Rockabilly, versetzt mit der charakteristischen Stimme von Benedicte.

Run With The Devil” ME AND THAT MAN, Adam Nergal Darski’s dark folk/blues solo project, has released a new single, “Run with the Devil“, featuring Jørgen Munkeby of Norwegian Blackjazz collective Shining. Munkeby’s distinctive vocals and soulful saxophone contributions weave throughout the foot-stomping blues-rock anthem’s upbeat tempo and indelible hook.

Run with the Devil himself and join the black church! “Burning Churches” ME AND THAT MAN evokes a feeling of desert desolation with their new beautifully macabre single, “Burning Churches”.

The Americana-influenced ode overwhelms with a haunting outlaw country atmosphere, enhanced by the compelling vocals of Mat McNerney of Finnish post-punk project Grave Pleasures. Lean back, put your boots up and sip on your finest glass of whiskey while getting lost in the smoke of “Burning Churches”.

In September last year, Josh Tillman stopped by our Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised us all with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. We, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion.

As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before we started cutting the LP. He began with the debut performance of his newly penned 'Mr. Tillman' (foreshadowing its release as the first single on God's Favorite Customer 9 months later). We then used the second song as an opportunity to carve a 12' on-the-spot single of 'Now I'm Learning to Love the War,' which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you'll have to scour the depths of FJM's fan net.

Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare





Virgins)

In March 2020 Loose will release The Handsome Family's first two records, Odessa (1995) Milk & Scissors (1996), on vinyl LP. This will be the first time these records have been released in Europe.

In March 2020 Loose will release The Handsome Family's first two records, Odessa (1995) Milk & Scissors (1996), on vinyl LP. This will be the first time these records have been released in Europe.

FOR THE VERY FIRST TIME IN DOUBLE - BLUE COLOURED VINYL • ON TOP OF THIS, A FLEXI BLUE COLOURED VINYL WITH AN UNRELEASED BONUS TRACK • STRICTLY LTD OF 1000 COPIES WORLWIDE • DIE-CUT GATEFOLD JACKET WITH PRINTED INNER SLEEVES, ALSO 12 PAGES BOOKLET •

"Texas 45 RPM Showdown" Jesse Dayton's tribute to two of his biggest Texas based influences, Doug
Sahm and Townes Van Zandt “If you open your arms to the world, it’s amazing what will come back atcha,”
drawls East Texas native, singer/songwriter/filmmaker/author Jesse Dayton, who has a bunch more
homespun wisdoms where that came from.
• ***PLEASE NOTE THAT THIS IS A NON-DISCOUNTED TITLE***
• A veteran of more than 30 years as a musician, Dayton was discovered as a young teenager playing a dive
in his hometown of Beaumont by legendary club owner Clifford Antone, who booked him into his famed
Austin venue, then immediately shifted him over to the honky-tonk Broken Spoke, where the likes of Willie
Nelson, George Strait and Ernest Tubb have had residencies. Over the years Dayton has played on
recordings and live with Waylon Jennings, Ray Price, Johnny Cash, Glen Campbell, Ryan Bingham, X,
John Doe and many more.

STEVE MILLER BAND - YOUR SAVING GRACE - THE EXCLUSIVE VINYL DEAL - VINYL GATEFOLD 180 GR - REGULARY RELEASE 2018

After the previous Johnny Cash Bootleg series, the first one consisting of privately recorded, intimate solo performances and the second one focusing on the dawning of Cash’s recording career, now it’s time for Volume 3. The Bootleg Series Vol. 3: Live Around The World is a treasure trove of rare tracks of Johnny Cash performances between 1956 and 1979. From country jamborees and juke joints, to folk festivals, prison shows, USO tours in war zones, and even a White House invitational, there was no audience Cash could not win over through his music, as can be heard on this box.

Johnny Cash is almost as well known for his spotted past as for his redemption. This fourth volume of the Bootleg Series focuses on the religious side of The Man In Black, showcasing the best of his Gospel on three 180 grams audiophile vinyl albums. Songs Of Faith that were recorded during the 1970’s and 1980’s, this is a collection of previously unreleased and out-of-print studio material (including an unreleased 1975 Gospel album) and features duets and collaborations with June Carter Cash, Rosanne Cash, Cindy Cash, Anita Carter, Helen Carter, Rodney Crowell, Jessi Colter, and others.

New project produced by Ripley Johnson of Wooden Shjips and Moon Duo fame. Packaged in a deluxe double gatefold package with original art by D. Norsen. Features special guest John Jeffrey on drums.

The album is described by producer Ripley Johnson: “The band was aiming to capture a timeless, natural sound, not quite of the present, past, or future, but phasing in between the consciousness of now and the stoned dream-state of the eternal. Sort of a back porch jam just as the shrooms are starting to kick in. Handmade and human, but also cosmic and transcendental. The goal is to let the music speak for itself and hopefully find a weird and wonderful audience somewhere out there.”

That description feels right for an album which seems perfect for those soft ephemeral moments and softly wraps you in the feeling of walking at twilight. Mellow but upbeat, it’s easy to imagine the leaves changing colours. It’s psych rock and difficult to describe without getting poetic, dreamy and insular - it’s easy to get lost in this album.
Produced and recorded by Ripley Johnson and mixed by Chris Cohen (Captured Tracks, Deerhoof), the album finds its niche in the hazy sonic landscape of private press country and psych records, alongside artists like Relatively Clean Rivers, Jim Sullivan, Kenny Knight and countless other explorers of the pastoral underground.

“The record’s a psychedelic crossroads that’s not being traversed as much these days, and as usual Johnson’s created a record that’s absorbing as its own little world. Once this hits the turntable you’re set to repeat endlessly” - Raven Sings The Blues

Yet another luxurious spectacle from the Saraswati Series. Ex-Sun City Girls master guitarist Richard Bishop teams up with Cul De Sac's long time Girls live collaborator, Ed Yazijian. Two grand seigneurs of underground deliver a unique album, deeply Western-rooted, filled with the musical spirit and structures of Indian music at the same time. Elegant interplay, brilliantly arranged, using mostly guitar (lap steel, tenor) and strings (viola), and an Indian stringed instrument, and some piano. A classic Saraswati Series sonic adventure. A contemporary classy polaroid, state of the art in today's underground music. Three untitled pieces which came up right Unrock's alley.

Third album from the legendary Cymande.
180 gram vinyl, mastered from original tapes, replica original artwork, official Mr Bongo reissue.
Licensed from John Schroeder Enterprises.

A steady point of focus A meditative state An abstract energy A perpetual flow A new perspective This is an album about consciousness expanding toward awareness of self. Focusing on a single point for long enough that you dive into it and come out on the other side, tapping yourself on the shoulder from behind. Think of it as circumnavigating your reality and washing up on a foreign shore that is familiar, yet entirely new. That has been this artist’s voyage as she has made her way through her musical evolution, and this record is that foreign shore. We are proud to present Seungmin Cha’s first solo release “Nuunmuun”, which translates to “Eye Gate”. Step through the portal and into the parallel universe of this singular artist.

Africa Seven is taking its first trip to Germany... Well Germany via Cameroon. Charlie Kingue Soppo is better known as Charly Kingson, cousin of Manu Dibango and a Cameroonian emigrant in the 1970s. Charly first headed to Paris and then found his way to Munich in 1978. He recorded two albums in his career, "Born In Africa" in Munich in 1978 and "Dance To The Music" two years later in New York.

For this outing we focus on his debut "Born In Africa". It was recorded in Union Studios in Munich with some of the city's finest (and surprisingly funky) session musicians of the day.

The LP opens up with "Nimele Bolo" a trademark Africa Seven sound if ever there was one… early growling analog synths, big stabby brass and afro rhythms. Add in Charlys vocals and it is easy to see why this track was a highlight of our recent African Airways 04 Funk compilation. Next it is time for smooth ballad, "Makakane Masu" and its smooth jazz overtones. Next "Manyaka" the suspenseful string section, octaving keys and percussive horns drive the wah wah guitar and Charlys brooding song.

On the flip side we open up with the rolling bass and swinging brass of lead track "Born In Africa". This track was a single and it's the perfect microcosm of the album elements in one track. It even manages to name check all the big afro musicians of the time. "Nanga Boko" and its big smiles all around for the good time synth-boogie funk. We close off the LP with "Reviens-Moi" a pensive ballad about Charly's forlorn love. He wants her back of course.

After Charly moved on from recording in the 1980s he stayed in Germany, performing in a series of local jazz and funk bands. We tracked him down in 2016 and we really pleased to be re-releasing his debut long player at Africa Seven. It sounds just as relevant (if not more so) in 2018 as it did 40 years ago in 1978.

'Ambolley' fuses Highlife, disco and boogie sonics and features the anthemic club cut, 'Highlife'.. One of Gyedu's best!

3rd album from Soweto sensations BCUC (aka Bantu Continua Uhuru Consciousness) with guest appearances from Afrobeat king Femi Kuti and renowned spoken word artist Saul Williams before a run of festival dates in the UK this summer.

Eschewing the classic album format, BCUC present three tracks – two of which clock in at nearly 20 minutes – that continue their philosophy of “Music for the people by the people”, combining zulu traditions and malombo percussions with a post-punk production and rock n roll attitude that have seen them feted as one of the most vital live bands playing today.

Ahmed Fakrun's first single originally released in 1977, now officially licensed from Universal Italy.

Two mind-bending slabs of acoustic and electric guitars, wandering into corners of acid-logic only accessible to bravest explorers. Elkhorn is a duo — Jesse Sheppard and Drew Gardner — from NYC. Their earlier records (Elkhorn on Beyond Is Beyond, The Black River on Debacle) would have blown us away, even if we didn’t know Jesse from his work as a film-maker (he directed the Glenn Jones/Jack Rose doc, The Things That We Used to Do) and organizer (he put together the 1,000 Incarnations of the Rose festival). Elkhorn’s music, which we had suspected might be in a fairly traditional American Primitive vein, was anything but. And these two LPs (released individually, but recorded more or less simultaneously) explore a whole warren of new style caverns.

Sun Cycle was recorded at Jason Meagher’s Black Dirt Studio and is closer to their pure duo sound (although guitarist Willie Lane and percussionist Ryan Jewell are along for the ride). There are elements of the American Primitive thread present, but these touch mostly on the outer reaches of the form, like Gene Estibou & Jean-Claude Pickens’ Intensifications, or the crazy distentions of MV and PG Six. Layers of pluck and soar and light percussion mix at the upper edge of the cosmic barrier, and Sun Cycle is, to our ears, Elkhorn’s most adventurous and fully realized album yet.

On Elk Jam, Willie Lane and Ryan Jewell function more as members of a psychedelic folk-rock quartet, and the troupe takes things even deeper in a Bay Area-styled trip zone. Recalling the classic ruminations of Mountain Bus, the full four man Elkhorn is exactly what the doctor prescribed for a generation of sack-butts who imagine John Mayer’s pudgy phallus-riffs have shit to do with transcendental psych exploration. Elkhorn are the true sonic dealio.

Instrumental music doesn’t get much better than this. As Capt. Beefheart once said, “If you got ears/You gotta listen!” We couldn’t agree more.

-Byron Coley, 2019

Two mind-bending slabs of acoustic and electric guitars, wandering into corners of acid-logic only accessible to bravest explorers. Elkhorn is a duo — Jesse Sheppard and Drew Gardner — from NYC. Their earlier records (Elkhorn on Beyond Is Beyond, The Black River on Debacle) would have blown us away, even if we didn’t know Jesse from his work as a film-maker (he directed the Glenn Jones/Jack Rose doc, The Things That We Used to Do) and organizer (he put together the 1,000 Incarnations of the Rose festival). Elkhorn’s music, which we had suspected might be in a fairly traditional American Primitive vein, was anything but. And these two LPs (released individually, but recorded more or less simultaneously) explore a whole warren of new style caverns.

Sun Cycle was recorded at Jason Meagher’s Black Dirt Studio and is closer to their pure duo sound (although guitarist Willie Lane and percussionist Ryan Jewell are along for the ride). There are elements of the American Primitive thread present, but these touch mostly on the outer reaches of the form, like Gene Estibou & Jean-Claude Pickens’ Intensifications, or the crazy distentions of MV and PG Six. Layers of pluck and soar and light percussion mix at the upper edge of the cosmic barrier, and Sun Cycle is, to our ears, Elkhorn’s most adventurous and fully realized album yet.

On Elk Jam, Willie Lane and Ryan Jewell function more as members of a psychedelic folk-rock quartet, and the troupe takes things even deeper in a Bay Area-styled trip zone. Recalling the classic ruminations of Mountain Bus, the full four man Elkhorn is exactly what the doctor prescribed for a generation of sack-butts who imagine John Mayer’s pudgy phallus-riffs have shit to do with transcendental psych exploration. Elkhorn are the true sonic dealio.

Instrumental music doesn’t get much better than this. As Capt. Beefheart once said, “If you got ears/You gotta listen!” We couldn’t agree more.

-Byron Coley, 2019

The second volume of Water and Rock Music by British guitarist Jon Collin is another solid gambol in the outdoors. For much of this it sounds almost as though Mr. Collin is wearing a pair of hip waders and is up to his ass in a stream, casting for notes the way Hemingway casted for trout. His string bending recalls Loren Connors at points, but he has a manual approach to filigree Loren has never displayed. Notes bend and hovers, but they also flutter, and the combination of sounds is not quite like anything that’s preceded it.

Some listeners have noted that the environmental sounds put them in mind of New Age string pluckers, but Collin’s compositions do not fall into the trap of needing to resolve melodic quandaries, or making gestures that chase after standard forms of beauty. Jon’s music works as a series of comments on sound and questions about the physical space in which it’s created, but like any good philosopher he knows when to leave a sense of mystery hanging in the air.

There is plenty of sweetness to the playing here, whether he’s strolling through a playground, standing in the middle of a busy street, or sitting the the flight path of an airport. The music never seems dictated by the background sounds, so much as it encourages us to consider every part of the sonic construction to be heard as music (in the Cage-ian sense). The elements become a part of the greater whole in a seamless way. And the closer you listen the more that becomes clear.

I am still most struck by (at least what sounds like) the “stream” sequences. But that’s just because I really like the visuals it conjures up. You may find different personal sweet spots. But find them you will.

Water and Rock Music Volume II is a truly ear-opening spin.

-Byron Coley, 2019

A lot of people flipped out over how amazing Mako Sica’s last album, Ronda (FTR 409), was. Ronda was a 2LP set whereupon the Chicago trio collaborated with legendary local percussionist Hamid Drake. This pairing seemed like a natural to us, but for some reason people have been woefully unaware of Mako Sica despite the fact they’ve been releasing killer records for a decade, and playing live shows that submerge your brain in a sonic soup that recalls the Sun City Girls at their most psychedelically Eastern.

The band’s approach to music feels almost alchemical. Trumpet, voice, guitar, drums and keys blend together in mysterious ways. The vocals are always more abstract than declarative, the guitar lines are sinewy, the rhythms roll and splash like a mirage oasis made real, and the trumpet arrives (when it does) sounding almost more like a shofar being played in a temple.

The sound of Manifest Being is celebratory and so fully freaked you’ll be soaking in it for years to come. The songs played are similar to the live set Mako Sika were polishing last year, and the results are stunning.

-Byron Coley, 2019

The “Elder Statesmen of Neo-Krautrock”: Electro-duo Klangwart was thought-provokingly labelled as such by an inventive music journalist when presenting their previous album “Transit” (named, among others, Record of the Year in the “Avant-Rock” section of The Wire’s 2016 Critics Poll). The tag responds to an understandable attempt at finding a category for one of the most singular phenomena of the electronic music scene.

It might be more passing to call tahem the “Under-Statesmen”, as minimalism and understatement are key elements of the Klangwart project, founded more than 20 years ago by musician and author Timo Reuber and DJ and Staubgold label manager Markus Detmer.

Every few years, seemingly coming out of nowhere, the duo release a consistently critically acclaimed Klangwart album, give a couple of concerts, and disappear once again. This might sound of harakiri, as it contradicts all common rules of the music market. But behind it lies a profound longing for veracious expression on the border between avant-garde and entertainment. In 2014, Klangwart travelled to the Colombian capital in order to record the material for “Bogotá” with protagonists of the local music scene: Damián Ponce (drums), César Quevedo (bass) and Eblis Álvarez (violoncello), members of The Meridian Brothers, and singers Juanita and Valentina Áñez Rothmann a.k.a. Las Áñez. The result is Klangwart’s trademark sound permeated by a Latin American pulse and pitch.

Collectively improvised and recorded in a matter of days, the raw material was later edited and mixed by Reuber at the Inkiek-Studio in Cologne. Joseph Suchy added guitar overdubs and mastered the album.

At all times unpredictable, exciting and surprising, “Bogotá” is the latest milestone in Klangwart’s ongoing musical journey. Recorded in Bogotá featuring members of the Meridian Brothers and Las Áñez.

Nyege Nyege Tapes deliver another volley of breathless Singeli from Tanzania, this time the vinyl debut of Duke showcasing the sound of Pamoja Records, following multiple zingers from the scene’s core Sisso Studios

Yet again making practically everything else seem pedestrian and tepid by contrast, Duke’s take on Dar Es Salaam’s Singeli style is ruthlessly fast and rugged, crammed with colourful samples and, quite crucially, loaded with a pair of blistering vocal tracks starring MCZO & Don Tach, and Dogo Lizzi, respectively.

In ‘Uingizaji Hewa’ the tempos thrillingly tilt over the 200bpm mark, but they’re held in check with a clutch of slower instrumentals written in Duke’s newer Hip Hop Singeli style. When he goes fast, dancers will know about it in the likes of ’Naona Laaah’ featuring machine gun rapid rhythms somehow matched for pace by MCZO & Don Tach, and again in the pedal-to-the-meckle recklessness of ‘M Lap’ starring Dogo Lizzi switching up from dancehall bark to fasssst-chat styles that put Daddy Freddy to bed.

But those hi-NRG bombs are only half the story. The rest of the LP shows off Duke’s wicked way with a hook and the diversity of his drum programming in highlights ranging from the PC Music- compatible bounce of ‘Sing4444444’, to the cascading chromatic licks and slow/fast suss of ‘Duke 4’, the joyful dervish of ‘Duke Bit Puyo’, and two dizzying pieces with spiralling, Bollywood-style vocal samples that close the record with a blinding flourish.

KINLOCH (sounds like "kin-law") NELSON studied classical guitar privately with Stanley Watson in Rochester NY, jazz guitar with Gene Bertoncini at Eastman School of Music, and music theory at the University of Rochester. In 1973, he began teaching both privately and at The Hochstein Music School in Rochester where he was on the faculty for twenty-five years. In 1985, Nelson co-founded the Guitar Society of Rochester, which during its ten-year run presented many of the world's greatest guitarists. Nelson is the author of a book, Alternate Guitar Tunings. He currently teaches privately, conducts guitar workshops and maintains a performance schedule. Nelson came to the attention of Tompkins Square via Duck Baker, who visited Rochester in 2018 supporting his own Tompkins Square archival release, Les Blues Du Richmond : Demos & Outtakes, 1973-1979.

Limited Pressing (500 worldwide..) of a special 7 inch of Simone Felice's powerful new Single 'Puppet' (Feat. FOUR TET) plus unreleased b-side 'Prisoner'.
"A lyricist to rival Dylan and Cohen. An album crackling with menace yet infused with tenderness, The Projector conjures magic with fragile rays of light in the darkness." - The Telegraph ****

Anfang 2019 zog der britische Songwriter Luke Sital-Singh von Bristol nach Los Angeles. Sein neues Album - A Golden State' spiegelt dieses neue Kapitel auf wunderbare Weise wider und greift ihm erwartungsvoll vor. Man hört überall einen Hauch California Dreaming und die Sehnsucht, die auch die Amerikaner nach diesem Ort haben.

Aufgenommen hat Sital-Singh - A Golden State' wie bereits den Vorgänger - Time Is A Riddle' gemeinsam mit Produzent Tommy McLaughlin (Villagers, Soak), dieses Mal allerdings in den von Elliot Smith gegründeten Jackpot Studios in Portland. Auch auf - A Golden State' glänzt Luke Sital-Singh vor allem durch die persönlichen und pointierten Lyrics. Erzählt mit einer Stimme, die direkter nicht sein könnte, fühlt man sich von Songs wie - Los Angeles', - Silhouette' oder - Souvenir' förmlich persönlich eingeladen, das neue Kapitel USA mit zu begleiten.

- Ich dachte: Es ist eine Jetzt-oder-Nie-Zeit in meinem Leben. Es fühlt sich alles sehr angenehm an - ich bin verheiratet, das Leben ist gemütlich... aber es fängt gerade an, ein wenig langweilig zu werden. Bequem, aber ein potenziell gefährlicher Komfort. Das heißt, es könnte uninspirierend werden. Ich denke, das ist zum Teil der Grund, warum ich Schwierigkeiten hatte, das Album zu schreiben. Also wollte ich einfach nur etwas Aufregendes und etwas Anderes machen. Vielleicht liegt das zum Teil daran, dass ich wusste, dass die Songs, die ich schrieb, eine ungewohnte Energie in sich trugen.', berichtet Luke Sital-Singh. In Portland mit einer kleinen Gruppe von Musikern (darunter der Schlagzeuger von Villagers und der Pianist von The Lumineers) eingeschlossen, arbeitete Sital-Singh schnell und sicher. Während das letzte Album weitgehend live aufgenommen wurde, war - A Golden State' das Gegenteil. - Die Songs fühlten sich viel inniger und ehrlicher an, aber wir wollten, dass sie groß und einnehmender werden. Also haben wir alte Ribbon Microphones verwendet, die diesen wirklich rauchigen, heiseren Sound erzeugen. Sie haben meine Stimme riesig klingen lassen. Die Stimme war das Wichtigste - ich wollte, dass es sich anfühlt, als würde sie aus dem Lautsprecher springen."

JJ Cale's 'Live' album gets its very first vinyl edition. FIRST TIME ON VINYL incl.all influencial tracks.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'Live' album gets its very first vinyl edition. Originally released in 1996, this live album features 14 classics including 'After Midnight', 'Cocaine' and 'Old Man'. All tracks were recorded across several different shows : Carnegie Hall (New York, 1996), The Philharmonic (Munich, 1994), Flynn Theater (Burlington, 1993), The Great American Music Hall (San Francisco, 1994), The Hammersmith Apollo (London, 1994), The Sommerville Theater (Sommerville, 1993) and Park West (Chicago, 1990). Double 180gr heavyweight vinyl with CD album included.

very first vinyl - first time on vinyl - edition 15 years after its release.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'To Tulsa And Back' gets its very first vinyl edition 15 years after its release. Double 180G heavyweight vinyl in gatefold sleeve with CD album included.

Seit Dem Plötzlichen Und Völlig Unbemerkten Erscheinen Ihres Manifests Im Jahr 2016 Schwor Das Weird Folk-songwriter-duo The Mañana People, 100 Lieder Zu Schreiben, Die Die Wege Des Pop-genre-diskurses Erkunden. In Der Mitte Ihres Kampfes, Während Sie Eine Reihe Von Hausgemachten Freak-folk- Und Psycho-country-kuriositäten Erfanden, Wurden Ihre Bemühungen Gnadenlos Von Dem Deutschen Kult-label Unique Records Unterbrochen, Das Sie An Den Ohren Packte Und Ihnen Sagte, Dass Sie Aufwachsen Und Eine Richtige Platte Machen Sollten.

Das Ergebnis Ist Ihr Bevorstehendes Debüt "princess Diana", Ein Hauch Frischer Radioaktiver Luft In Der Welt Der Autorenmusik. Die Exzentrische Sammlung Von Melodien Bietet Theremin-getriebene Honky-tonk-kracher, Zombie-themen-electro-pop-balladen Und Horror-spirituals, Sowie Eine Zusammenarbeit Mit Dem Besten Troubadour Selbst, Bonnie 'prince' Billy.

Die Erste Anstrengung Der Mañana People Schafft Es, Harmonisch Zwischen Experimentierrinnen Und Der Angenehmen Leichtigkeit Der Popmusik Zu Schwingen. Tim Weissinger Und Alvaro Arango Trafen Sich An Einem Winterabend Auf Den Grünen Wiesen Ihrer Universität.

Ihre Musikalische Chemie Und Das Kalte Wetter Zwangen Sie Quasi, Sofort Musik Zu Machen. Ihre Debüt-ep "the Mañana People" Wurde Am Halloween-abend 2014 Online Veröffentlicht. Ihre Musik Wurde Sofort Von Ihren Freunden Gelobt, Von Ihren Feinden Gefürchtet Und Von Vielen Anderen Ignoriert.

Seit Anfang 2015, Und Mit Hilfe Von Tobi Mercer (keyboards) Und Simon Mead (schlagzeug), Haben Die Mañana People Ihr Wort Verbreitet Und In Jeder Bar, Café Oder Straßenecke Neue Seelen Gefordert.

Nach Einer Zweiten Ep - "horror Songs" - Ist Es 2016 An Der Zeit Für Ein Komplettes Und Mit Spannung Erwartetes Debütalbum Auf Unique Records!

Die Jungs Supporten Honig Auf Seiner Herbsttour.

Live
14.09.18 Ulm Roxy
15.09.18 Mainz Schon Schön
16.09.18 Dresden Beatpol
17.09.18 Berlin Privatclub
18.09.18 Leipzig Werk 2
19.09.18 Nürnberg Club Stereo
20.09.18 Essen Zeche Carl
21.09.18 Köln Kulturkirche
22.09.18 Bremen Tower
28.09.18 Konstanz Kulturladen
29.09.18 Saarbrücken Kleiner Klub
30.09.18 Aachen Musikbunker
02.10.18 Langenberg Kgb
03.10.18 Haldern Pop Bar
04.10.18 Hamburg Knust
05.10.18 Münster Sputnikhalle


Für Anfang 2019 Ist Eine Kleine Eigene Tour In Planung.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES 6 PAGE INSERT WITH LYRICS AND PICTURES
- ONE OF THE MOST CRITICALLY ACCLAIMED ALBUMS OF THE '90S
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED COPIES ON PINK VINYL

Matthew Sweet is an American singer-songwriter and rock musician. He was part of the burgeoning music scene in Georgia during the '80s, before gaining commercial success in the '90s. In 1991 Matthew Sweet released Girlfriend, the pop-rock album which was widely considered an artistic breakthrough. It quickly garnered impressive sales, spawning a top 10 single with the title track. The music video for 'Girlfriend' featured clips from the anime film Space Adventure Cobra and was heavily aired on MTV, MuchMusic and Night Tracks.

Girlfriend is Sweet's most commercially and critically successful album to date. Both the title track and 'Divine Intervention' did well on the charts. The album was included as number 61 on Paste's list of 'The 90 Best albums of the 1990s'.

Available as a limited edition of 1.000 individually numbered copies on pink vinyl.

Clubhouse Records are set to release Here There's No Sirens the debut solo album from Case Hardin frontman Pete Gow on April 5th. Long regarded as one of the UK's finest songwriters, Gow delivers an album rich in songwriting prowess and full of evocative imagery. A storyteller at heart, Gow conjures up a modern day classic that entwines itself around your heart whilst penetrating the soul, underlining his reputation whilst stretching the band confines into new pastures. Awash with strings and piano, Here There's No Sirens is undoubtedly Gow's boldest endeavor.

The album was produced by Joe Bennett (Bennett Wilson Poole) at Farm Music Studios in Oxfordshire.

Pete ''I asked Joe to make this sound unlike any record I had previously made, so listeners can be assured they are hearing something uniquely different.Joe was the perfect foil..he politely appeared to tolerate that ridiculous mandate''

Case Hardin are one of the UK's most loved Americana bands & have played festivals such as C2C, Truck, Maverick and Wood. Their last album Colours Simple was described as a ''rock masterclass'' by Q Magazine, an ''album lovers album'' by Mojo whilst No Depression relished its ''ambitious, headstrong and no holds barred'' approach.

Reviews confirmed to run in RNR, Maverick, AUK, Beat Surrender, Rocking Magpie & Lonesome Highway