Celebrating our tenth release, we proudly present "Feeling Everything, All At Once" - a compelling VA compilation featuring music from our current label family and introducing some talented debutants from Scotland.
RED010 marks a powerful statement of intent as we look to the next five years and beyond whilst reflecting on our achievements so far, what we aspire to accomplish and how we can continue to push the sounds that resonate with us. Although it has taken time to reach this milestone, our commitment to quality over quantity remains unwavering.
This compilation serves not only as a collection of club-ready tracks but also as a longform piece suitable to more passive listening. With a total of 14 tracks, it stands as our most extensive release yet, expanding our label family to well over 20 artists. The digital release will be complemented by a physical cassette, perfect for playing in the dusty tape deck of your mate's Vauxhall Corsa as you head to that mad rave in the countryside everyone is talking about.
We are thrilled to announce our collaboration with the Scottish Action for Mental Health (SAMH) on this project with all the profits being donated to this cause. Both Lewis & Ethan have their own personal experiences with mental health difficulties and strongly believe that SAMH is absolutely vital in facilitating the provision and promotion of mental health care, support & information.
A massive thank you to all those involved in making this happen and their generosity in donating their time and talent to the project.
Northwest & Nebulous is Liverpool-based musician Luce Mawdsley’s sixth studio release, a lush and accomplished instrumental album suffused with radiant and fluid possibilities, where expansively cinematic instrumentals conjure queer cowboy landscapes via the Northern English coastline. The album is a world-building piece of work, pulling from folk, Americana and soundtrack influences, fusing their romantic and exploratory energies to signal the beginning of a new journey for composer, with an open invitation for listeners to come along for the ride. The album was recorded and mixed by Luce Mawdsley in the Grade II listed Scandinavian Church in Liverpool, with a core chamber trio of Luce on guitar, organ and percussion, Nicholas Branton on clarinets, and Rachel Nicholas on viola. A self-taught musician, Mawdsley has released a host of both solo and collaborative albums (Mésange, Cavalier Song), and in 2023 started Pure O records, an independent record label dedicated to the nurture of queer and curious music based in the Northwest of England. “Wordlessly fashions heady, droney atmospheres that could soundtrack a film where a man walks through a monochrome desert” - The Quietus “The spindly guitars and knotty progressions of ‘Insect Fire Dance’ and ‘Heathen’ explore an unprissy English prog with soil under its fingernails” - 8/10 UNCUT "A triumph of imagination – a wide-eyed stare at the skies, in love with sound and possibility." - **** The Skinny “It’s not a stretch to suggest that no one is making music like Mawdsley. While the Liverpool visionary’s 2020 release, Vulgar Displays of Affection (Maple Death Records), was something likened to splintered bones passing through a meat grinder, Mawdsley’s Luke Two is far removed, solidifying the notions of an artist leaping from one sound world” - Sun 13 “Hallucinatory echoes of Alejandro Jodorowsky’s dream-realism symbolic El Topo share room with otherworldly portals and the all-too real depressive, bleak traps of a run-down, unloved English seaside town.” Monolith Cocktail
Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.
Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.
While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.
Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.
Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."
Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.
At just 21 years old Peter Frampton had already played with The Herd and co-formed and left Humble Pie. So he struck out on his own with the appropriately named, “Wind of Change.” Freed from Humble Pie’s narrower focus on hard-rock boogie, Frampton’s debut solo album reveals an artist exploring more dimensional, delicate and nuanced songwriting and guitar playing … Frampton showed his own brand of rocking hard with tunes like “It’s a Plain Shame,” “All I Wanna Be (is by your side)” and even made a Stones song his own with “Jumping Jack Flash,” which became a staple of Frampton’s live shows. But these tunes and even the hook-laden “The Lodger” are balanced with intricate, beautiful tunes like the elegiac “Fig Tree Bay” and the title track “Wind of Change.”
Recorded by award-winning mastering engineer Kevin Gray's record label, Anthony Wilson's Hackensack West is Cohearent Records' follow-up to Kirsten Edkins' Shapes & Sound album. Produced by Joe Harley and recorded all-analogue/all-tube at Gray's studio, Cohearent Recording, the AAA vinyl release is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket.
From the liner notes:
The week before these sessions in the summer of 2023, I sat down each morning with the goal of composing one new song by day's end. I knew I'd soon be in the room with my dear friends Gerald Clayton, John Clayton, and Jeff Hamilton, three musicians whom I trust the most, and with whom I've played the most over the last couple of decades. I tried to imagine themes that would feel natural to us, the kinds of songs we could simply dive into without much thinking. When we headed to Kevin Gray's studio to record, I brought seven new songs along with me. Five are included on this album.
"Daido" is dedicated to Japanese photographer Daido Moriyama, who became known in the late 1960s for his grainy, sometimes blurry, high-contrast black and white images made throughout Japan. I love his pictures taken on the streets of various Tokyo neighbourhoods such as Shinjuku. His portrait of a menacing stray dong, from his series "A Hunter," is the kind of picture that, seen just once, is unforgettable. These days Daido is still out on the street making pictures, at the ripe young age of 85.
"Verdesse" has a sinuous, chorinho-like melody and rhythmic feel. The tune seems to weave and bob playfully in a space of brightness the way a grapevine seems to curl towards the sunlight. So I named it after a wine grape native to the pre-Alpine region of Isère, near Grenoble in eastern France, that makes a particularly delicious and drinkable white wine.
I wrote "Sunday," well...on Sunday. It unfolds slowly, like a good Sunday does when there's nothing to do, you can sleep in, you've got your person beside you, and you just relax into the day.
"The Lands" is dedicated to a family very dear to my heart: that of tenor saxophonist Harold Land. My mother met Harold when they were both teenagers growing up in San Diego, California. The two of them became lifelong friends, and a little later, Harold enjoyed a fruitful musical association and close friendship with my father, Gerald Wilson. Harold, his lovely wife Lydia, and their son Harold Jr. were extended family for us; they looked after me with love and care. Some of my first gigs ever as a young guitarist were with Harold's incredible band that included Oscar Brashear, Billy Higgins, Richard Reid, and Harold Land Jr.
I've loved Todd Rundgren's "Marlene" since I first heard it on his epic double-album Something/Anything. With its tender, well-contoured melody buoyed by a few special harmonic surprises, it almost seems like something from the pen of Burt Bacharach. It tells such a complete musical story. Rundgren's recorded version has a beautiful endlessly repeating tag. So we played the melody simply, and used the tag as a small staging area for a bit of improvising.
Hackensack West is our alias for engineer Kevin Gray's studio Cohearent Recording, a place inspired by Rudy Van Gelder's first studio in Hackensack, New Jersey. Located inside Van Gelder's parents' home, the musicians played in the living room! It was there, in 1954, that Thelonious Monk recorded his classic tune "Hackensack," a "contrafact" melody over the chord changes to the Gershwins' "Oh, Lady Be Good!" In contrafact-like fashion, my own bebop-spirited melody "Hackensack West" seems to nod toward the changes of a few recognizable standards, without corresponding to any particular one.
Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.
Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.
New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.
Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.
With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.
Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.
A showcase for Peter Frampton’s growth as a songwriter and guitar player, Frampton’s Camel is named after his touring band, honouring the groove this collective had reached in 1973. Prominently featuring Mick Gallagher’s superlative keyboards, the hard-rocking hooks and catchy melodies here lay the foundation for the superstardom that would come just a couple albums and tours later with Frampton Comes Alive. Camel includes the smash hits “Lines On My Face,” “Don’t Fade Away” and a majestic cover of Stevie Wonder’s “I Believe (When I Fall In Love With You It Will Be Forever).” Camel also introduced the world to the all-time classic rock anthem “Do You Feel Like We Do,” with a songwriting credit to the entire band. This fan favourite has remained a highlight of Frampton’s legendary live performances for decades.
Out of print as a stand-alone release for decades since its original 1974 issue. Produced by George Harrison, Shankar Family & Friends is an almost-forgotten masterwork – an emotional and sonic pact between two like-minded souls to both advance their spiritually minded bond and unite musical styles, cultures, and sounds in wondrous fashion Contributions from Ringo Starr, David Bromberg, Billy Preston, Nicky Hopkins, Jim Keltner, Klaus Voorman, and a host of virtuosic Indian musicians add to a diverse album that melds Eastern and Western traditions; encompasses jazz, funk, bhajan, Indian, and pop; and represents the spirit and breadth of Harrison's Dark Horse Records imprint.
Memorable contributions from an A-list of American and English musicians — Ringo Starr (drums), David Bromberg (electric guitar), Billy Preston (organ), Nicky Hopkins (piano), Jim Keltner (drums), Klaus Voorman (bass), Robert Margouleff (Moog), Malcolm Cecil (Moog), Tom Scott (saxophone) included — add to the richness of a set that melds Eastern and Western traditions. These “names” mesh with a host of Indian virtuosos — Alla Rakha, Ashish Khan, Kamala Chakravarty, Hariprasad Chaurasia included — who turn Shankar Family & Friends into a journey laced with percussive, string, and vocal components that aren’t soon forgotten.
Throughout, Shankar Family & Friends remains true to its title — a mesmerizing record named to reflect the group participation approach of its creators. The idea started when Shankar told Harrison about a ballet he wrote. The Beatle, who first met Shankar in June 1966 — roughly a year after Harrison became interested in Indian music after overhearing it in a restaurant while filming Help! — immediately was convinced they needed to record it. Harrison’s staunch admiration of Shankar and serious approach to Eastern styles are reflected throughout the album.
Indeed, for Harrison, Shankar Family & Friends marks the culmination of a years-long effort to master the sitar, study Hinduism, and incorporate elements such as drones, unusual chords, and expressive picking into his own songs. The seeds of this unique collaboration can be heard in Beatles works such as “Norwegian Wood,” “Love to You,” and “Within You Without You.” Both musicians were also fresh from performing at the 1971 Concert for Bangladesh shows. Yet Shankar Family & Friends remains entirely unique in each visionary artist’s history — and ultimately, led to a collaborative tour Harrison and Shankar staged across North America.
Encompassing jazz, funk, bhajan, Indian, and pop, Shankar Family & Friends is thematically split into halves. Side One reveals Shankar’s uncanny ear for melody — even when applied to Western forms. The lead-off “I Am Missing You,” the first single ever released by Dark Horse Records and reportedly the first pop composition Shankar completed, underscores his skills as a composer and global ambassador. Beautifully sung across three octaves by his sister-in-law, Lakshmi Shankar, the devotional song features multiple drummers and production that mirrors Phil Spector’s Wall of Sound approach. Harrison plays autoharp and guitar; Starr sits in on drums; Scott handles flute and soprano saxophone. It’s the inviting start of a musical adventure teeming with color, majesty, and mysticism.
A second version of the track — designated with a “(Reprise)” tag — appears minutes later. Unfolding in different ways, it follows a folk ballad structure stitched together with Indian instrumentation. Here, according to Shankar, the musicians “attempted to convey the sounds and atmosphere of Vrindavan, the ancient holy place where Krishna grew up.” Both renditions speak to the cross-continental fusion that came so naturally to Harrison and Shankar, whose oversight on the side’s other vocal tracks ensures listeners familiar with Western methods gain easy access to the hypnotic allure of his native country’s music.
Nowhere is this more evident than on Dream, Nightmare & Dawn (Music for a Ballet), the side-long piece that served as the genesis for Shankar Family & Friends. Launched with an airy overture and unfolding across three movements, the mostly wordless suite features everything from call-and-response interplay and classical lyricism to uptempo dance figures, stacked rhythms, and intoxicating grooves. Blurring the lines between contemporary and traditional, and Western and Eastern, the inspirational work is the exclamation point on a record that defined “world music” well before the term became co-opted as a catch-all genre.
Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29, 2024 via Carpark Records. What’s For Breakfast? is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting.
Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with What’s For Breakfast?, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP.
Lead single “One Call, That’s All” kickstarts with frenetic guitar-driven intensity. While the track slyly takes its name from the slogan of an ambulance-chasing Mississippi lawyer, May sings of unrequited love and phone-based ennui. “It’s a fast tempo pop-rock song that isn’t like anything I’ve done before,” says May. Elsewhere, opener “You Already Know” showcases May’s goofball lyrical charm with lines about playing chess online and looking like a Dawson’s Creek character. Beyond the jokes in the song, there is a bittersweet recognition of time passing and a call to action when May sings, “Now you already know what time it is / It’s time to live your life / Cuz it’s flying by / No matter the day, week, month or year / It’s time to do a lot / Ready or not.”
What’s For Breakfast? marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”
New super-band featuring desert rock legends Mario Lalli, Brant Bjork, Sean Wheeler and Ryan Güt !!! The first release from this band of pioneering Desert rock musicians captures the band and its purest form exercising the desert born ethic and approach of rock improvisation, psychedelic and flowing, heavy and explorative. The foundation of Mario Lalli's grooving heavy bass lines and meditative themes with a intuitive guitar work with Brant Bjork and percussion of Ryan Güt set the scene for Sean Wheeler's poems and songs capturing the dark and beautiful stories and images of life in the Mojave desert of Southern California. This is a representation of desert rock in its purest form. A very special live performance in Gold Coast Australia.
Violet vinyl, limited to 400 copies. New super-band featuring desert rock legends Mario Lalli, Brant Bjork, Sean Wheeler and Ryan Güt. The first release from this band of pioneering Desert rock musicians captures the band and its purest form exercising the desert born ethic and approach of rock improvisation, psychedelic and flowing, heavy and explorative. The foundation of Mario Lalli's grooving heavy bass lines and meditative themes with a intuitive guitar work with Brant Bjork and percussion of Ryan Güt set the scene for Sean Wheeler's poems and songs capturing the dark and beautiful stories and images of life in the Mojave desert of Southern California. This is a representation of desert rock in its purest form. A very special live performance in Gold Coast Australia.
'Final Symphony II' erkundet weitere beliebte Musik aus der Final Fantasy-Reihe, aufgenommen vom dem Royal Stockholm Philharmonic Orchestra. Reichhaltige, geschickte Arrangements von Nobuo Uematsus Werken, erstellt von Roger Wanamo und Jonne Valtonen, eine Suite des Co-Komponisten Masashi Hamauzu, basierend auf seiner gewaltigen Originalmusik für Final Fantasy XIII, oder das stimmungsvolle Eröffnungsstück 'In A Roundabout Way – Fanfare'. Der Pianist Mischa Cheung steht im Mittelpunkt der Final Fantasy IX-Suite 'For The People Of Gaia' und des Solo-Arrangements 'You Are Not Alone'. Schwarzes 180g Triple-Vinyl.
“Black Ark in Dub” is an album that belongs to Lee Perry’s series of dub albums, showcasing his innovative sound experiments. Particularly notable for its creative use of sound effects, echoes, and studio manipulations characteristic of dub aesthetics, “Black Ark in Dub” has often been praised for its creativity and influence on the dub genre. The album bears witness to Lee Perry’s experimental genius and his ability to push the boundaries of music production. Unavailable for many years, it is now released in a limited edition on SILVER vinyl.
When Sean Cimino and Isom Innis were getting ready to work on what would become Acid Star, the full-length debut of their syrupy electronic rock group Peel, they started by tapping into the music that they liked as kids. That is, the music they gravitated toward before they had "any taste or judgment," as Innis puts it. The results are an album that swirls dance-music paint onto a rock canvas. Inspired in part by genre-bending Creation Records bands like Primal Scream and Madchester groups like Happy Mondays, Acid Star gives a modern spin on a classic formula.
"This new song "Citizen X" does vibrate with the weird aura of a live show; there's a sense of disorientation and detachment, and Cimino's vocals--which are reminiscent of Paul Banks' in Turn on the Bright Lights--are like a guiding light." FLOOD
Debut album from Italian trio of Gabriele Mitelli, Pasquale Mirra, and Cristiano Calcagnile, longstanding members of the Italian jazz community who over the past ten years have collaborated in various formations with the likes of Rob Mazurek, Jeff Parker, Alexander Hawkins, Damon Locks, Danilo Gallo, Chad Taylor and many others.
The Elephant was first formed in 2017 with one of their first performance at the Venice Biennale, within the French Pavilion as part of the opera set up by Xavier Veilhan. Since then the trio has continued to work together across different projects but never made enough time to record a full project.
This changed in 2023 and In The Room presents the trio's vision for jazz with an intimate collection of musical polaroids that reflect the expressiveness and potentiality of the music they love.
The album features vocals from Cristina Donà, Damon Locks, and Rob Mazurek.
High-level reissue of one of the legendary and world-renowned bands that emerged in Australia, essential for any lover and collector of Australian Rock and Punk Rock / High Energy. "Spaceman In a Satin Suit' was released in 1994 and it is one of the best and most mature works in Celibate Rifles' discography, and now for the first time on vinyl since its initial release. This great LP reflects the simple spirit of the Rifles' rock'n'roll with catchy choruses and signature guitars, with another part that they began to play with after this album, a more experimental and introspective side. The 14 songs of the Celibate Rifles introduce you with an electric storm, oppressively dense, hard and heavy, which then become faster, sharper and stronger, where they overflow Punk, which remains their hallmark, with sharp guitars, wounded and full of fury, until they reach a kind of breaking point towards a more experimental part, together generating an interesting sonic boom (The Ramones team up with Blue Oyster Cult in a particularly gloomy alley). Lovelock's lyrics exude more optimism than on previous LPs and this peaks with 'Big World', a declaration of love to his beloved planet Earth. There is also room for his usual biting social commentary. On the album we also find a tribute to one of its musical influences, 'Let's Do It Again' by Sonic's Rendezvous Band (with the participation of Fred 'Sonic' Smith, ex-MC5).
LIVERPOOL’S LONG LOST 90’s INDIE ROCK NOISEMAKERS. COMPILING THREE SINGLES AND UNRELEASED TRACKS. “If these guys were American they’d have a massive following” STEVIE CHICK. Back in the 1990's PLAYHOUSE were Liverpool's premiere 'honey souled indie rock band' (NME, 1997). They had a devoted following around the country after supporting the likes of Sleater Kinney, Unwound, Penthouse, Pavement, Sebadoh, Feeder and Gary Numan. With three 7" singles under their belt and support from the NME and John Peel, the band were due to record their debut album until disaster struck when the drummer, Simon, broke his leg in a bizarre incident. Simon later went on to play with the rock band - Black Spiders and now performs under the name of Blobb Ross. Singer and guitarist Pete continues to write songs, over a 1000 at this point. He is Liverpool's most prolific and enigmatic figure, writing some of the most beautiful songs around. Bassist Jason went on to perform with Mugstar, Sex Swing, Klamp, Domes, Twin Sister & JAAW. 'Dynamo' compiles the three singles they released, alongside unreleased tracks, including a cover of Sebadoh's 'It's So Hard To Fall in Love'
"Humble Pie was formed by ex- band member of the Small Faces' Steve Marriott, former Spooky Tooth's Greg Ridley, Peter Frampton, and Jerry Shirley. The supergroup recorded eleven studio albums in total, including the 1970 self-titled album. They recorded it with producer Glyn Johns, who worked with many of the most famous rock artists including the Rolling Stones, the Beatles, Led Zeppelin, the Who and many more. The material was darker than their previous two albums and includes Peter Frampton's gentle ""Earth and Water Song"", a cover of ""I'm Ready"" originally by Willie Dixon, and ""One Eyed Trouser-Snake Rumba"". The front cover features artwork by English illustrator-author Aubrey Beardsley, who is known for his Japanese woodblock influenced grotesque and erotic illustrations. Humble Pie is available in its original gatefold sleeve. "
Humble Pie by Humble Pie, released 29 March 2024, includes the following tracks: "One Eyed Trouser-Snake Rumba", "I'm Ready", "Red Light Mamma, Red Hot!" and more.
This version of Humble Pie comes as a 1xLP in a(n) Gatefold Sleeve packaging.
FÜR FANS VON: Helloween, Gamma Ray, Powerwolf, Primal Fear, Grave Digger, Running Wild, Iced Earth, Blind Guardian, Edguy
Große Ereignisse werfen ihre (offenkundig ebenso großen) Schatten voraus: Die deutsche Metal-Band Rage kündigt für März 2024 die
Veröffentlichung ihres neuen Studioalbums ‚Afterlifelines‘ an. Es handelt sich um ein Doppelalbum mit insgesamt 21 Songs, inklusive Intro, Interlude
und Outro. Das Besondere daran: Die zwei Scheiben haben unterschiedliche musikalische Ansätze: „Die erste CD trägt den Titel ‚Afterlife‘ und besteh
aus Songs, die wir als Trio eingespielt haben, während die Songs der zweite CD ‚Lifelines‘ zusätzlich mit klassischen Orchesterarrangements
ausgestattet sind“, erklärt Sänger und Bassist Peavy Wagner. Wagner und seine beiden Bandkollegen Jean Bormann (Gitarre) und Vassilios „Lucky“
Maniatopoulos (Schlagzeug) haben mehr als 94 Minuten neuer Rage-Musik aufgenommen, darunter ein, wie Wagner es nennt, „20-minütiges Grand
Finale.“ Um die Wartezeit bis zum Album-Release zu verkürzen, werden Steamhammer/SPV bereits ab Januar 2024 drei Singles der neuen Scheibe
vorab auskoppeln.
Neben der Veröffentlichung des Doppelalbums laden RAGE in 2024 zu einer umfangreichen Welttournee ein, mit Shows und Festivalteilnahmen unte
anderem in Deutschland, Österreich und der Schweiz. Darüber hinaus kündigt Peavy Wagner bereits jetzt für den Herbst 2024 eine große
Rage-Biographie anlässlich des 40-jährigen Bestehens der Band an. Kein Zweifel: 2024 wird ein Rage-Jahr!
FÜR FANS VON: Helloween, Gamma Ray, Powerwolf, Primal Fear, Grave Digger, Running Wild, Iced Earth, Blind Guardian, Edguy
Große Ereignisse werfen ihre (offenkundig ebenso großen) Schatten voraus: Die deutsche Metal-Band Rage kündigt für März 2024 die
Veröffentlichung ihres neuen Studioalbums ‚Afterlifelines‘ an. Es handelt sich um ein Doppelalbum mit insgesamt 21 Songs, inklusive Intro, Interlude
und Outro. Das Besondere daran: Die zwei Scheiben haben unterschiedliche musikalische Ansätze: „Die erste CD trägt den Titel ‚Afterlife‘ und besteh
aus Songs, die wir als Trio eingespielt haben, während die Songs der zweite CD ‚Lifelines‘ zusätzlich mit klassischen Orchesterarrangements
ausgestattet sind“, erklärt Sänger und Bassist Peavy Wagner. Wagner und seine beiden Bandkollegen Jean Bormann (Gitarre) und Vassilios „Lucky“
Maniatopoulos (Schlagzeug) haben mehr als 94 Minuten neuer Rage-Musik aufgenommen, darunter ein, wie Wagner es nennt, „20-minütiges Grand
Finale.“ Um die Wartezeit bis zum Album-Release zu verkürzen, werden Steamhammer/SPV bereits ab Januar 2024 drei Singles der neuen Scheibe
vorab auskoppeln.
Neben der Veröffentlichung des Doppelalbums laden RAGE in 2024 zu einer umfangreichen Welttournee ein, mit Shows und Festivalteilnahmen unte
anderem in Deutschland, Österreich und der Schweiz. Darüber hinaus kündigt Peavy Wagner bereits jetzt für den Herbst 2024 eine große
Rage-Biographie anlässlich des 40-jährigen Bestehens der Band an. Kein Zweifel: 2024 wird ein Rage-Jahr!
Was bekommt man wenn man Black Metal, Classic Rock, Punk, Goth und Rock'N'Roll in einen Topf wirft? Alfahanne. Die schwedische Band veröffentlicht ihr fünftes Album, nun wieder auf Dark Essence/Karisma. 10 schweißtreibende, musikalische Brandsätze die zwischen Kvelertak, Turbonegro, norwegischen Black Metal und Motörhead pendeln - mit schwedischem Gesang. Das Album vereint Punk-Attitüde, Melodie und Groove mit einer düsteren Atmosphäre, die irgendwie sowohl an die 80er als auch an die Anfänge des Black Metal erinnert. Wenn man so edle und berüchtigte Gäste wie Nattefrost (Carpatian Forest), Spellgoth (Horna), Nattfursth (Sorhin) und Doedsadmiral (Nordjevel) einbezieht, hat man einen explosiv, apokalypischen Molotov-Cocktail. Zu haben auf CD und klassisch, schwarzem Vinyl!
Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!
The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.
La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.
These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.
To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.
The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.
Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept.
"Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this.
Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.
It’s obvious listening to Sarah Shook and the Disarmers’ clear-eyed, biting, and unafraid songs that integrity is the most important thing to the Chapel Hill, North Carolina, country-punk outfit. “A lot of artists are in this industry for fame, recognition, and money but those things don’t mean anything to me,” says bandleader River Shook. “Songwriting is it for me. It’s the only real healthy coping mechanism I've ever had. It’s life-saving. I don't care about any superficial things when I’m making a record.” On their resonant fourth album Revelations, produced by Shook and out March 29 via Thirty Tigers, these raw and resilient tracks come first. Throughout, Shook’s deft storytelling documents regular people getting by and keeping on, all presented without filter or pretension. In 2022, Shook was remarkably productive. They released two albums: debut solo indie rock record Cruel Liars under the moniker Mightmare (Kill Rock Stars) and a third Disarmers full-length called Nightroamer (Thirty Tigers). Compared to every Disarmers record before that, which captured the in-the-room energy of the band with live recorded songs, the latter LP was instead more of a product of the studio with meticulous tracking sessions and an outside producer. While that effort was well-received, Shook believed the songs on Revelations deserved a more direct approach. “Since the Disarmers started in 2015, our strength has always been in our live performance,” says Shook. “To me, an album should capture the essence of a band. With this new set of songs that are all super special to me, I didn't trust anybody else to capture the songs and decide how to best serve each song.” Shook, who honed their production skills with their Mightmare LP and Izzy Ryder’s debut record, confidently took the reins during a blistering recording session, capturing 10 songs in two days. For Shook, it was paramount the recordings match the band’s tangible live ferocity because these songs boast their most immediate lyrics yet.
Les yeux grands fermés is a spontaneous new EP that is an ode to freedom, both in the creative process and in everyday life. This opus depicts the rather raw feelings of a young artist who had a tough time of it when he was starting out, and who is now finally experiencing the success he had been hoping for. More liberated, the protagonist is now enjoying a new life: a more freestyle lifestyle full of surprises and lightness, with days governed by studio sessions, parties and carnal relations... all the while keeping his feet firmly on the ground and his goals firmly in mind! In terms of songwriting and production, Les yeux grands fermés is an improved blend of ABSOLEM's last two projects, Leur dire and Balle d'Argent, featuring both their introspective songwriting, here even more touching, and their arrogant, second-rate side. ABSOLEM continues the journey begun on Balle d'Argent, a project in which the rapper discovered himself to be more than ever in harmony with his music (spontaneity, introspection, fluidity of text) and less concerned by all the external factors (industry, the race for numbers, social networks, pressure, etc.), social networks, pressure, etc.).
Produced in a very short space of time, Les yeux grands fermés is a highly intuitive and spontaneous project with some tracks created from scratch in just a few hours.
Entirely produced, recorded and mixed by Dee Eye in their cellar-home studio, the project retains the 'live' touch. studio, the project retains the 'home-made' touch that characterises the duo and which they are constantly perfecting. The featuring with JeanJass, who is very close to the duo, was just as natural, having worked with with Dee Eye and advises them on the creation of their projects. projects. The result is a track with a very intimate theme (esotericism and introspection), which takes the form of an astral journey.
Project after project, the chemistry between ABSOLEM and Dee Eye grew stronger and stronger and the main objective remains the same: to break new ground in every area production, writing, interpretation, mixing and mastering). Continuing to continue to work on a number of projects on their own, Dee Eye continues to progress experience and a keen eye in the artistic direction of ABSOLEM's projects. projects. With quality, consistency and efficiency always in mind and efficiency, ABSOLEM and Dee Eye are increasingly asserting their desire to create their own musical colour, a sort of hybrid between Slowthai and Asap Rocky with and Asap Rocky, with innovative production and flows, featuring rap lyrics.
Domino kündigt die physischen Wiederveröffentlichungen von Nicos zweitem und drittem Soloalbum an, „The Marble Index“ von 1968 und „Desertshore“ von 1970. Beide Alben sind seit langem vergriffen; die Wiederveröffentlichungen werden ab dem 29. März auf Vinyl und CD erhältlich sein, mit Audio-Mastering von den Originalbändern.
„The Marble Index“ und „Desertshore“, die beide von Nicos Bandkollegen John Cale von Velvet Underground mitproduziert wurden, haben die Goth-Rock-Bewegung stark beeinflusst. Der ikonische Musikjournalist Lester Bangs schrieb: "The Marble Index ist das bisher größte Stück 'avantgardistischer Klassik', 'ernster' Musik der letzten Hälfte des 20 Jahrhunderts. Beide Alben sind nun wieder auf CD und Vinyl erhältlich, nachdem sie vergriffen waren. Der Ton wurde von den Originalbändern gemastert. Die CD & LP für beide Alben enthalten bisher unveröffentlichte Fotos von Nico von Guy Webster.
Black Truffle is thrilled to announce a major archival release from legendary American composer and live electronics innovator Richard Teitelbaum, centred around his soundtrack for Suzan Pitt’s cult 1978 animation Asparagus. Best known to some listeners for introducing Europe to the Moog synthesizer as a founding member of Musica Elettronica Viva in Rome, Teitelbaum’s extensive and radically experimental body of work includes collaborative recordings with master improvisers like Anthony Braxton, Andrew Cyrille and George Lewis, intercultural experiments combining electronics with non-Western instruments such as the shakuhachi, works for computer controlled piano, and large-scale multi-media operas. Recorded at York University, Toronto in 1975–1976, ‘Asparagus (European Version)’ sprawls across both sides of the first LP. Discovered by composer Matt Sargent in Teitelbaum’s tape archive, this is a previously unheard major work for Moog modular and Polymoog synthesizers, unique in Teitelbaum’s oeuvre for its lushness and gently melodic quality. The music unfolds slowly, submerging lyrical melodies and burbling arpeggios into uneasy, glacially shifting harmonic swells, the luscious texture thickened with subtle changes of modulation and phase, calling up the shifting layers of Costin Miereanu’s classic Derives or the kosmische Musik tradition more than any academic synthesizer exercise. Teitelbaum incorporated much of this material into his soundtrack for Suzan Pitt’s Asparagus, which receives its first official release here. Asparagus, famously paired with David Lynch’s Eraserhead for a two-year run of midnight screenings at New York’s Waverly Theatre, uses hand-drawn and stop animation to unfurl an oneiric succession of images, beginning with a sequence in which the female protagonist defecates two stalks of asparagus, which multiply and float out of the toilet bowl to form the letters of the title. Teitelbaum’s soundtrack interweaves delicate drifting tones from the ‘European Version’ with contributions from Steve Lacy and Steve Potts on saxophones, George Lewis on trombone and Takehisa Kosugi on violin. Edited closely to the film, even without images the soundtrack proposes a surreal journey through floating synth tones, squealing horns, propulsive arpeggios, distant chatter, and an old-timey waltz. The final side of the set presents a new realisation of Teitelbaum’s text score ‘Threshold Music’, performed at a memorial concert at Roulette, New York in 2022 by Leila Bourreuil (cello), Alvin Curran (sampler and objects), Daniel Fishkin (daxophone), Miguel Frasconi (glass objects) and Matt Sargent (lap steel). The piece asks musicians to match their instrumental volume to that of the sounds of the environment in which they play, sometimes with the addition of recorded environmental sounds, reinforcing frequencies they encounter in listening deeply to their surroundings. Here the players use a field recording taken at Teitelbaum’s home in Bearsville, New York, their long tones and shimmering, glassy textures delicately emerging from the white noise of the location recording. Released with the full approval of both Richard Teitelbaum and Suzan Pitt’s estates, Asparagus is illustrated with striking images from Pitt’s film and accompanied by detailed liner notes by Francis Plagne. These previously unheard pieces shed new light on the work of a key composer in the American experimental tradition, offering up some of Teitelbaum’s most beautiful and engaging music.
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Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various Southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. With a solid background in bioacoustics applied to both human and animal well-being, Valentina assumes the role of co-director at AOIR Sound Laboratory. There, she spearheads an interdisciplinary initiative that centers sound as its core element. This includes the creation of the sonic cartography portal aoir.cl, as well as the development of handmade electronic devices like the Bowerbankii and the creation of various experimental microphones.
Taken from from Skinshape’s 8th studio album ‘Craterellus Tubaeformis’. For fans of Khruangbin, El Michels Affair, Madlib, Bonobo. Will Dorey aka Skinshape has proven himself time and again a connoisseur for the cosmopolitan, across a prolific career expertly exploring understated sounds and theatrical textures. Taking his place alongside the likes of Khruangbin, Tame Impala, Bonobo and Madlib, Skinshape’s global kaleidoscopes are loaded with warmth and wisdom created on vintage analogue equipment applying a perfectionist’s touch. As a former member of indie band Palace, he has played everywhere from Glastonbury and BBC Maida Vale to headlining Shepherd’s Bush Empire. Skinshape’s words on the tracks. The Ocean: “This one is dedicated to all the surfers out there. Following the theme of 1960s rock and combining it with subtle elements of 90s beats (that you may not be able to hear).” The Longest Shadow (feat. Andy Platts): “This song takes a more experimental route than some of the more 'psych' tracks on the album. The hot vocals of Mamas Gun frontman Andy Platts lends the track a deep soul vibe, whilst Jon Moody (of the band Franc Moody) lends his piano skills for an electric solo in the latter part of the track.” Support from BBC 6 Music, BBC Radio 2, Jazz FM, Soho Radio, MOJO, Uncut, Shindig etc.
One could be forgiven for getting that familiar feeling when listening to the music of Ghost Woman. And that's not just because songwriter & multi-instrumentalist Evan Uschenko is deeply steeped in classic guitar-led rock & pop songwriting (more on that later), it's that the music was, by design, intended to be evocative. But not evocative, however, of any one thing; what separates the music of Ghost Woman from a great many other bands working today is his openness to non-specificity. He's not trying to impart any sort of message to the listener; instead, the hope is that one will find themselves luxuriating in nuances of how the music is delivered, and the feelings it stirs up for each individual.
For the past couple of years Ghost Woman has been Evan Uschenko's outlet for his interest in songwriting and recording, which began after a number of years spent playing as a sideman in various Canadian indie ensembles, most notably in the Michael Rault band, a group that displays a similar affinity for perfectly dialed, partially yesteryear-looking guitar pop. Following 2022's self-titled
debut, issued by UK-based Full Time Hobby to great critical acclaim, Anne, If presents a slightly more expansive vision of what Ghost Woman can offer.
Tom Saltas (Deathloop, PUBG, Halo) zutiefst beunruhigender Soundtrack zum Horror-Survival-Spiel 'The Outlast Trials' (Red Barrels Games, 2023) wurde komplett (35 Tracks) für 180g Heavyweight-Doppelvinyl gemastert und erscheint samt Linernotes-Einlage. 'The Outlast Trials' bietet einen abwechslungsreichen Horror-OST mit gruseliger Audioproduktion und ungewöhnlichen Orchester- und Musique-Concrète-Techniken, ergänzt durch einen nervtötenden falschen Mid-Century-Jingle, jazzige Fahrstuhlmusik und Honky-Tonk-Klavier. Salta nutzt geschickt die Sprache der Musik, um die Menschen in eine alptraumhafte emotionale Dimension eintauchen zu lassen und die grausamen Erlebnisse zu unterstützen, denen die Spieler begegnen werden.
..and this is how an endless summer night's dream sound! Puestel meets his alter ego Friebe again! Can you imagine that this whole song came to Rico Friebe in a dream?!
In that dream, he was sitting in a strange living room, playing a live set with very odd, weird and partially never-seen-before equipment while everyone was annoyingly talking to him (while performing) – one person right next to him even told him that he frequently manages to eat glass by accident. WTF?!
According to all this obscurity, he tried to escape into his performance, just looking straight into a weird countertop electronic device that created sound and suddenly he played this completely unknown song with these special vocals kicking in and he immediately fell in love with and got lost in it, forgetting all about the strange situation he was in – the distracting voices around him fell into a mute state.
Shortly afterwards, he woke up and kept trying to remember all the details, the lyrics, the melody, the production, just anything, wandering around like a maniac. Finally, all of it went pretty well and you're now listening to a dream composition. Magic everywhere!
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As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."
As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."
As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."
Yuko Kureyama returns to TAL with the album Heart Fresh, her first ever full length release under her Kopy moniker. All tracks for the album were recorded in Tokyo in June 2023 at the famous live house Ochiai Soup. For the recordings of the ten tracks, Ochiai Soup was swiftly converted into a recording studio as the intimate atmosphere of the club and its perfect room acoustics gave Kopy the chance to record her music like in a live situation.
Amazingly Kopy‘s instrumentation on Heart Fresh consists only of a Jomox x Base 09 rhythm machine and an Elektron Digitakt mini sampler. In the hands of Kopy this fairly basic and common gear creates an unmistakeably intuitive and original approach to drum programming, which is recognizably her very own.
Due to extensive live playing in the past two years, Kopy has garnered a lot of admiration for her consistently unpredictable and fearless club performances and has easily become one of the most exciting and inventive live acts from the ever vibrating electronic music scene in Japan.
However, Heart Fresh seems even more focused, urgent and ambitious than its predecessors, the Paredo EP (TAL12 including a remix by Lena Willikens), the Eternal EP (TAL 24 featuring a remix by Elena Colombi) and the split album Super Mild (TAL15). Nothing on Heart Fresh is subdued. The entire production is resonating with its peculiar frequencies, it is wonderfully evocative, open hearted, full of life and intelligence.
The album opens with Night Sarkas with quirky snare rolls played against slashing, nervy chunks of melody. Samples of organ and chimes evoke an rollercoaster spinning out of tune and synch. Hole Hole is a beat driven and melody free short story for bass drum, snare and hi hat with constantly changing bpm‘s. Tir Tone marks the arrival of annunciatory rhythm patterns and a lovely sprinkling of distorted synths. The album's final track Moonlight Pool is the perfect closer for an album of taut, free wheeling figurations of meter and tone, a nod to classical ambient music as well as to contemporary more experimental digressions.
However, the album’s most startling and unexpected moments come when Kopy follows her futuristic inclinations and matches them with dissonant excoriations that shuttle the mind into a completely different place where all kinds of different activities seem to follow their own individual compasses. Imagine to walk down the noisy streets in Tokyo and you hear all kinds of different sounds infiltrating your ears independently from different sources and directions. In that sense Heart Fresh is the most appropriate soundtrack we can imagine for the contemporary era.
"After releasing three studio albums and lots of touring, Blue Öyster Cult released their first live album On Your Feet or on Your Knees in 197The album is a collection of 12 live recordings from performances that took place in the United States in 197It includes three songs from each of their first three albums, an original instrumental track, and two covers: “I Ain’t Got You” (Billy Boy Arnold, The Yardbirds) and “Born to Be Wild” (Steppenwolf). It was their first gold record in the US and became the band's highest-charting album, which put the band forever on the map as one of the essential rock live bands. On Your Feet or on Your Knees is available as a limited edition of 1500 individually numbered copies on silver & black marbled vinyl, housed in a gatefold sleeve and includes a 4-page booklet. "
On Your Feet Or On Your Knees by Blue Oyster Cult, released 29 March 2024, includes the following tracks: "Hot Rails to Hell", "Seven Screaming Dizbusters" and more.
This version of On Your Feet Or On Your Knees comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.
The vinyl is pressed as a marble, silver & black disc. Another vinyl is pressed as a marble, silver & black disc.
Il Quadro di Troisi presents La Commedia
Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up.
The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set.
Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition.
The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane.
La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness.
La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach.
La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca.
The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.
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Whitney Houston’s self-titled debut album has few parallels. Viewed solely through the lens of sales numbers, Whitney Houston is a watershed statement on par with the most commercially successful and culturally dominant LPs ever released. Having sold more than 14 million copies in the U.S. and upwards of 25 million units worldwide, the 1985 LP became the equivalent of the television show or blockbuster film that everyone collectively experiences and discusses. Nearly four decades later, it’s lost none of its appeal or magnetism — and its artistic significance and historical import have only grown.
Sourced from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g SuperVinyl LP of Whitney Houston presents the breakthrough in audiophile sound for the first time. The signature traits Houston exhibits on every song — her three-octave range, radiant warmth, personal conviction, impossibly controlled register — come across with exceptional clarity, focus, and presence. Free of artificial ceilings and constricted dynamics, this reissue plays with an openness, airiness, and balance that put the singer’s once-in-a-lifetime instrument and immortal artistry into proper perspective.
It does the same for the songs’ cascading melodies and captivating arrangements. Individually produced by one of four renowned industry veterans — Kashif, Micheal Masser, Jermaine Jackson, and Narada Michael Walden — each composition feels grander, closer, more genuine. A vocal spectacular, Whitney Houston benefits from the high-end characteristics of SuperVinyl, which include a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces. This is how an album that changed the direction of popular music — opening previously inaccessible doors for Black artists; bringing smooth-singing vocalists back into the mainstream; kickstarting a movement that soon included several “divas” who would command the charts through the early 21st century — should look and sound.
Though Houston’s seemingly effortless performances suggest otherwise, creating the record Rolling Stone ranks as the 257th Greatest Album of All Time wasn’t easy. Nearly 18 months were required to identify songs suitable for a still-unknown singer who did not fit into the conventional frameworks of the mid ‘80s. Confident, powerful, and prodigiously talented, Houston would forge her own parameters with Whitney Houston. In the process, she obliterated the stubborn lines between R&B and pop, Black and white radio. She dared to reimagine who could be a superstar and then went out and defined the role. Recorded for nearly $400,000 and released on Valentine’s Day, the LP exceeded the wildest expectations of those most closely associated with it — save for Houston and her family.
Having made her first public appearance at the age of 11 singing at a Baptist church, Houston understood pressure and knew her way around, inside, and through a song. The invaluable guidance and support she received from her mother, Cissy, an accomplished gospel vocalist who backed Aretha Franklin and Elvis Presley, are on display throughout Whitney Houston. They arrive in the types of authoritativeness, discipline, and diction rare for even most seasoned veterans — and unheard-of for a 21-year-old newcomer. Houston brings a soulful elegance, understated glamour, and in-the-moment rapture to every note. Moving up, down, or staying in the middle of the vocal ladder; channelling softness or sweetness; showing restraint or increasing the volume, she is a marvel of emotionalism, a dynamo who can seamlessly transition from one mood to another within a verse.
Though the 10-track LP largely concerns itself with the ballad tradition, Houston covers the bases, getting into an R&B groove on the fleet “Thinking About You,” turning up the heat on the duet “Take Good Care of My Heart,” and investing the contagious dance-pop confection “How Will I Know” with all the anxiety, hope, energy, and enthusiasm its lyrics demand. Featuring her mom on background vocals and Houston’s pitch-perfect tone, uncanny precision, and skyscraper highs (no AutoTune here, friends), the synth-based anthem propelled Whitney Houston into the stratosphere, the vocalist into regular MTV rotation, and the term “crossover” into popular parlance. The double-platinum single reached No. 1 on the Hot 100, Hot R&B, and Adult Contemporary charts — a trifecta that foreshadowed accomplishments that would ultimately crown Houston as the most-awarded female artist of all time.
Whitney Houston became the first album by a Black female performer to top the Billboard charts. It remained there for 14 non-consecutive weeks en route to claiming the title of the best-selling LP of 1986. It stands as the first debut and first album by a solo female artist to spawn three No. Hits, as well as the first album by a Black female artist to top the year-end charts in Australia and Canada. These are just a handful of the accolades — along with four Grammy nominations — that surround a set that also contains the unforgettable ballad “Saving All My Love,” string-accompanied “Greatest Love of All,” and sensual “You Give Good Love.”
As TIME observed in an article written two years after the album took the world by storm: “This is infectious, can't-sit-down music, and her performance dares the listener not to smile right back.” We’re still smiling.
Our fifth chapter is the one where we seek, savor, and settle. The muse found us in the depths of raising children, nurturing relationships, surviving a world-changing virus, bidding farewell, shifting our mindsets, and discovering a sense of peace heretofore unseen. Our third decade of life has proven to be one of routine, rest, and realization, and these songs are about the lessons we’ve learned. We’ve learned to be space-holders and defenders of the people we hold close. We’ve learned from deep, steady love in various forms. We’ve learned to let go of people and perceptions and priorities that just didn’t make the cut as we weighed what is right and important and worth keeping. We’ve learned how all the things we’ve always treasured continue to withstand the pressure of time. If you notice an upward trend to the mood and emotions, you’re on target-we have found calm waters, for now. - The Secret Sisters (2023)
Mind, Man, Medicine by Secret Sisters, released 29 March 2024, includes the following tracks: "If the World Was a House", "Planted", "I Needed You", "Same Water" and more.
This version of Mind, Man, Medicine comes as a 1xCD in a(n) Digipak packaging.
