"The restorations of The Lost Recordings are worthy of those devoted to master paintings." — Le Journal du Dimanche
"We discovered these previously unpublished tapes in the archives of the RBB — the Berlin radio. This discovery is absolutely major because these two incredible musicians had recorded too little together and because this recording offers us the possibility to listen to them in works that were unpublished so far in their discography — notably an extraordinary sonata by Prokofiev! And what can we say about this Bach sonata, with an Andante that brought tears to the eyes of everyone present in the studio at the time." — Frédéric D'ORIA-NICOLAS, Musical treasure seeker
János Starker, cellist, and György Sebok, pianist, were both born in Hungary early in the 20th century. They were welcomed into the formidable Franz Liszt Academy of Music in Budapest, and emigrated to the USA, where they both held the title of Distinguished Professor at the Indiana University School of Music in Bloomington. Both heavy smokers and sometimes reputed — unjustly — to be harsh, austere and insensitive to trends, they were drawn to music in all its varieties and fascinated by its many colours. They had one aim only, one noble objective: to showcase the works all composers, as evidenced by this recording made in the legendary Studio 3 of Berlin Radio on 24 October 1963.
Starker and Sebok were fully imbued with the aesthetics that Prokofiev proclaimed: "I cultivate melody and strive to introduce feeling and emotion into my works. No matter that some call me a cubist, adding that I systematically avoid any emotional or romantic elements in my quest to reach only objectivity."
Next, and at the opposite end of the spectrum, is the Spanish passion of the two pieces by Granados and De Falla, pieces that nevertheless also convey melancholy. Starker and Sebok launch into the works with enthusiasm and intensity.
The last piece, Bach's Sonata in G Major, BWV 1027 for Viola da Gamba and Keyboard, is one of three he composed, probably in Köthen. Because they may have originally been written for other instruments, they can easily be transcribed for the cello and piano. They reveal the rich influences that pervaded the German region during the first half of the 18th century. The two musicians give us a sublime interpretation of the beauty of the counterpoint in this Sonata.
These recordings attest to the importance that the two superb musicians attached to working in the service of the composers. We wonder if, in that enchanted studio in Berlin in 1963, they knew how much further they went to bewitch us and touch us so profoundly.
She had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.
When she passed away in 2009 at age 89, Nelson Freire wrote, "I truly loved her; she was a modest woman, and her playing shone like the sun." Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.
Larrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s Coronation Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.
Though trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.
Her performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' Goyescas, she infused each note with nuance. She brought Goya’s paintings to life in El Pelele and mastered the dark contrasts of Surinach’s Canción y Danza. Albéniz’s Iberia demanded both power and delicacy—qualities she commanded effortlessly.
Her final tribute was to her friend Francis Poulenc, performing his Toccata—a soaring farewell.
As one admirer put it in 1982, "She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen."
Eddie Cochran - The Unforgettable Hits Collection This 20 track LP celebrates Cochran's legacy by bringing together all his hits, the most memorable tracks and glories in the young man's tenacious talent. It naturally includes the landmark records C'Mon Everybody, Twenty Flight Rock, Summertime Blues, Somethin' Else, Three Steps To Heaven and Jeannie, Jeannie, Jeannie, ending with the incredibly intimate, rendition of Pink-Pegged Slacks. All in all, it provides an in-depth overview of his glittering career and is a must for any rock n roller. Disc 11. Skinny Jim - Eddie Cochran2. Sittin' in the Balcony - Eddie Cochran3. Mean When I'm Mad - Eddie Cochran4. Am I Blue - Eddie Cochran5. Twenty Flight Rock - Eddie Cochran6. Jeanie, Jeanie, Jeanie - Eddie Cochran7. Pocketful of Hearts - Eddie Cochran8. Pretty Girl - Eddie Cochran9. Theresa - Eddie Cochran10. Summertime Blues - Eddie Cochran11. C'mon Everybody - Eddie Cochran12. The Boll Weevil Song - Eddie Cochran13. Somethin' Else - Eddie Cochran14. Hallelujah I Love Her So - Eddie Cochran15. Three Steps to Heaven - Eddie Cochran16. Cut Across Shorty - Eddie Cochran17. Sweetie Pie - Eddie Cochran18. Weekend - Eddie Cochran19. Nervous Breakdown - Eddie Cochran20. Pink Peg Slacks - Eddie Cochran
The 1985 B Side Classic!! ‘The Creator’ Made famous from Mad Professor’s ‘Ffwd to Dub’ where he looped hook phrases of Aisha vocals. Then sampled by ‘The Orb’ in the 90’s & introduced to a new psychedelic audience. This is one of the first Roots songs made with a Drum machine! Coupled with lovers rock gem - ‘Dancing Time’
DJ Support - Luke Una, Nikki Nair, Make A Dance, Boris Dlugosch, Gallegos
THIS YEARS BANGER IS HERE! After last years crossover smasher ‘Italo Disco Banger’, which picked up love from DJ Harvey, Gerd Janson and Fatboy Slim, Red Rack’em has been back in the lab, cooking up this years contribution to his ever growing, genre hopping series of ‘Bangers’. He’s hit discotheque paydirt once more with the euphoric tropical disco house burner vibes of ‘Secret Banger’. The feedback has been insane with early support from a wide range of tastemakers including Make A Dance, Nikki Nair, Luke Una, Boris Dlugosch and Gallegos, it’s a crossover, summer magic jam, perfect for those Adriatic or Balearic mornings. Secret Banger is an instant classic. Perfectly pitched for festival sunshine and late night heads down parties. It’s a ‘moment’ track, combining the biggest vocal hook this side of Daft Punk, ecstasy pads, tropical boogie strut and the trademark Rack’em club shaking sub bass. Secret Banger is a sureshot, guaranteed to give eyes closed moments to even the most frosty dancefloors. Monday is ostensibly ‘the deeper B Side cut’ but it’s also a certy club wrecker. Samples are being mad flipped people. A wacked out street soul snippet is sliced and diced before the track mutates into a huge pitched down late night jaw bothering incantation. The OG sample is hard cut into the track like a more clever than most DJ on the decks. You need this.
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Nach seinen Megaerfolgen der letzten Jahre mit der erfolgreichsten Radiosingle 2021 „Save Your Tears“ (Platin) und dem erfolgreichsten Song 2020 „Blinding Lights“ (3x Platin) beginnt The Weeknd nun sein
nächstes Kapitel.
Dieses kündigte der Superstar bereits im Herbst 2021 mit “The Dawn Is Coming” auf seinen Social-MediaKanälen an und bestätigte die Gerüchte für ein neues Album dann an Neujahr. Der erste Vorgeschmack auf sein neues Album erfolgte mit der Single „Take My Breath“. Diese stieg direkt in die Top 20 der deutschen Charts ein und erreichte Platz 2 der Airplay Charts.
Sein letztes Studioalbum „After Hours“, welches u.a. die Erfolgshits „Blinding Lights“, „Save Your Tears“ und „After Hours“ enthält belegte Platz 5 der Albumcharts. Seine anderen Alben „Beauty Behind The Madness” (2015) und “Starboy” (2016) sind in Deutschland beide mit Gold ausgezeichnet. Sein neues Album „Dawn FM“ erscheint nun am 07.01.2022 digital und enthält Feature-Artists wie Jim Carrey, Tyler The Creator und Lil Wayne.
Am 28.01.2022 erscheint es auch auf CD und wird ab dem 29.04.2022 auch als Vinyl erhältlich sein.
DESCRIPTION
The O-est of Gs, Schoolly D, originally released his second full length, Saturday Night!. The Album on his own imprint in 1986. Schoolly - and this release - are considered by many to be the genesis of gangster rap and were highly influential to all who followed. Schoolly was picked up by Jive Records in 1987, and an expanded version of Saturday Night!. The Album was released. This album contains 10 tracks of all killer no filler! All beats made by Schoolly D and his legendary TR-909 drum machine. This album is a perfect blend of raw and funky from the King of Philly.
Novoa/Kamaguchi/Cleaver Trio Delivers Electrifying Second Volume
A Bold, Experimental Fusion of Density and Dialogue
"The wait is over. If you’ve been holding your breath since hearing Novoa/Kamaguchi/Cleaver Trio, Vol. 1, it is time to let it out. Vol. 2 is almost here! The group has returned to 577 Records once more, serving a heaping second helping of addictive musical brilliance that comes out in May.
Even The Wire magazine celebrated the trio's first album, calling it “a deep and thoughtful release” – and Vol. 2 is no different. Eva Novoa is the Barcelona-born pianist/composer taking the world by storm with her creativity and talent. And she is back to wow us again on the piano, Fender Rhodes, Chinese gongs, and a little whistling.
To complete the trio, she chose her longtime comrade and collaborator of some fifteen years, bassist Masa Kamaguchi, and Detroit drum wizard Gerald Cleaver. The group has performed live in NYC since 2017. They made their first record (Vol. 1) with 577 Records in 2024. Their highly anticipated Vol. 2 marks Eva's fourth album with the label.
In their upcoming release, Novoa steers the trio through elegant experimentation of its full potential, confidently grasping golden threads from great masters of music to shape her own melodic universe. The multi-instrumentalist says it’s where melodic density meets contrapuntal dialogue, a free interplay of rich textures and riveting, masterly improvisation. This smooth complexity is what gives rise to the group’s uniqueness.
Like Vol. 1, the album cover art features the work of Novoa’s friend and collaborator, popular street photographer Richard Sandler."
Eva Novoa - Piano, Fender Rhodes, Chinese Gongs & Whistling.
Masa Kamaguchi - Bass.
Gerald Cleaver - Drums.
Recorded on January 19, 2020 at Oktaven Audio, Mount Vernon, NY by Jeremy Loucas.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.
Arkeo is my most eclectic and techno-driven album to date—a fusion of my love for subterranean aesthetics and my deeply-rooted connection to Detroit’s underground music scene.
While always keeping the dance floor in mind, this album also reflects something more personal: my spiritual journey and how it applies to my daily life.
Arkeo represents the awareness that I have weaknesses, but rather than seeing them as limitations, I view them as opportunities for God's power to work through me. It’s a reminder that my dependence on Him allows me to walk more fully into the abundant life I’m meant to live.
Jesus said, “My grace is sufficient for you, for my power is made perfect in weakness.” — 2 Corinthians 12:9
As you listen, my hope is that you don’t just hear the music, but that you feel a connection to something deeper.
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"Chasing the funky symphonies that filled my head and my dreams..."
December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.
"I'd release that", Rob commented.
Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.
You will not believe the profound soulful genius contained within these naive schoolboy melodies.
December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.
In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."
Hell, he can do that now!
Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.
The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.
Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."
"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.
"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."
Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.
This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."
The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.
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This is an album made during a crucial period in South Africa’s history during which there was a palpable feeling of a slow turning towards the collapse of the apartheid state side by side with an increasingly well-organised culture of resistance through the formation of the United Democratic Front (UDF) and various affiliated bodies. However, as a result, there was increased pushback from the state security establishment, a turning to dirty tricks and the formation of hit squads whose members murdered and tortured many of our friends and created chaos throughout South Africa as well as neighbouring countries.
This album is situated in this political environment however it took advantage of the new do-it-yourself music technologies available at that time. Technologies that made it possible to make and release records without interference from traditional record company executives. Two musician friends of mine pooled their resources after their respective bands had broken up. Ivan Kadey (National Wake) and Lloyd Ross (Radio Rats) built an 8-track recording studio control room and fitted it out in a second hand caravan and called it Shifty. They parked it in a garage attached to the only house left in a demolished and derelict mining village near Soweto on the outskirts of Johannesburg.
All the work on this album was completed there, mainly after hours and mostly alone where I enjoyed an exhilarating freedom to develop a whole new set of musical skills and ideas, incorporating my love of a wide range of music I’d grown up with. Influences of 1970s progressive/kraut/and psychedelic rock combined with mbaqanga bass styles, early reggae/dub and Indian tabla rhythms. Stockhausen, early Zappa and Holgar Czukay were radio text and shredding influences, and Chris Cutler’s band Henry Cow & Art Bears helped me see a way to political expression. Mostly though was the exciting post-punk and no-wave music coming through to us from Europe and America: bands like This Heat, the Mekons, Raincoats, Sonic Youth and Pere Ubu were immensely important to me as was my reading from the period: J.M.Coetzee’s first 3 novels are strong influences on Free State Fence; the stark landscape, superstition, ritual, and sexual repression are in many of his settings. JG Ballard was a constant presence throughout that period, especially whilst living in such a surreal environment, surrounded by mine dumps, but mostly I think the whole French post-modern philosophical movement—Derrida, Foucault and of course, Baudrillard’s Simulacra and Simulation—set out a new sense of possibilities, possible ways to express oneself, ways to think, and ways to try and analyse the political intersection of public and private life. Most important at that time was the influence of sound recordings I had made and experiences garnered from working as a sound recordist on documentary films. These financed my work and later the studio and were consistent employment throughout the 1980s. Film work also enabled me to experience much of South Africa that was hidden from most. The track Independence Day is a good example; drawn from some time spent in the rural homeland of Venda. This then was the first full length Kalahari Surfers album, completed in summer of 1984 it was taken to EMI pressing plant but rejected by the cutting engineer as being ""political, pornographic and anti religious"". Chris Cutler at Recommended Records took up the challenge and released the album through his label. He wrote the original liner note
Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.
All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.
At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.
There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.
The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.
The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?
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The Soulful Trio, a band from Barcelona made up of three musicians with an international background (Spain, Holland, Argentina, USA, France) after playing their repertoire live in different venues for several months, with their songs well shot, have decided to record "Said & Done", in one of the best studios of Barcelona, nine original compositions of Soul-Jazz with derivations towards funk and blues.
Music reminiscent of the classics of the Hammond B3 organ trio such as Jimmy Smith, Jack McDuff, Lonnie Smith, Richard “Groove” Holmes or Big John Patton, reinventing the sound and bringing it closer to today with their vibrant fusion of genres full of energy.
Enjoy this instrumental Soul-Jazz album with these young veterans Homero Tolosa (drums), Pablo Sánchez (guitar) and Lucas Herrera Fernández (Hammond B3) in all their splendor with their respective instruments including the exciting & dynamic sounds of the Hammond B3, the great electric guitar groove of solos and huge variety of rhythms, playing a music that is always intense and made from their hearts.
New R&B discoveries continue to emerge and entertain the many followers of the New Breed musical cult; nobody finds more than the Kent connoisseurs.
Berna Dean’s two previously unheard recordings are by far her best. They were laid down at Cosimo Matassa’s New Orleans’ studios by GNP Crescendo but eschewed in favour of two relatively average sides. The great 50s R&B songwriter Jesse Stone provides a rocker for the much-admired Jimmy Breedlove and a super-catchy ‘This Morning’ for an unknown mixed vocal group that has a joyous gospel feel. Jesse also penned ‘Private Eye’, a classic early 60s story-song, for Buddy Wilkins which was issued on Al Sears’ Tri-Ess imprint.
The title track is used twice, on two very different Fraternity recordings. Kenny Smith’s version was issued in 1964 and has many followers, but the equally meritorious Coasters-inspired composition by the Citations is newly discovered. Win Menifee’s ‘I’m Runnin’ Around’ from the same Cincinnati label comes complete with a fascinating back-story.
There are three cover versions. Vermettya Royster’s ‘All Around The World’ is backed by James Brown’s 1961 band, while Roosevelt Lee's 1970 update of the 1947-originated ‘Hey Little Girl’ funks the tune up a la Godfather of Soul. The cover that will make the biggest noise is undoubtedly west coast band the Afterglows’ version of Barbara Lynn’s evergreen dancer ‘I’m A Good Woman’ – this is a future monster.
Golden Crest provides two fabulous male vocal group sides – the swinging ‘What’s On Your Mind’ by Eddie Daye’s Four Bars and the delightful harmonies of the appropriately-named, but unknown Delights ‘Mary Don’t You Weep’.
Blues still thrived into the 70s as Albert Washington’s mean and moody ‘Case Of The Blues’ proves. Smokey Wilson took the music into the late 70s with the storming ‘Goin’ Away Baby (Round Like An Apple)’, which benefits here from a 45-style edit. His Pioneer Club on 88th Street in South Central L A provides the atmospheric photo for this collection.
More early 60s movers come from Wilbur “Hi-Fi” White with ‘Don’t Look Now’, future hit songwriter Johnny Madara’s raucous ‘You Make Me Mad’ and Big Boy Groves ‘Bucket O’ Blood’ which brilliantly describes the kind of club these tracks would fit right into.
The LP version loses a few tracks, but so many collectors have strong preferences we’ve thrown the vinyl junkies a lifeline.
I’d clocked this kid coming in to the shop over the last 6 months, quiet, serious, head down, digging through ALL the records, intently listening and then buying and scurrying off… Not the most chatty BUT he did let slip he was making music, and then it made sense, he was in the shop for one reason and one reason only… to find music he could use to make his own music. The kid is 17 this is the start of his musical journey. I suppose its been a Bristol thing for a long time, maybe its the same in other cities but here there’s been people taking other people’s music and bending it to their own will for a long time, making it their’s but also somehow making it OURS, it always seems to sound like its from here… So when ZEE asked if he could play me some music he’d made it wasn’t a surprise that it sounded like it came from here, the darkness, the clever twists and turns, soulful but heavy… I said it sounded like ’Shoegaze Hip-Hop’ which he seemed to like… So here’s three tracks that I hope you dig them as much as I do…. Tom Friend (Friendly Records).
Dark, brooding hip-hop instrumentals that joins the dots between Company Flow, The Bug and Dilla. A killer vibe from tipped new West Country producer, ZEE! Limited gold vinyl copies available in an edition of 100 — don't miss!
7 track LP made with a eurorack modular system, This work is characterized by intricate compositions that transport listeners to otherworldly realms. Halfgeleider’s First LP combines modular synthesis with a touch of nostalgia, creating a captivating sonic experience.
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In association with WaterTower Music, Waxwork Records is ecstatic to announce MICKEY 17 Original Motion Picture Soundtrack by Jung Jaeil.
Mickey 17 is a madcap political science fiction satire from the mind of Academy Award winning director Bong Joon-ho (Parasite, Memories of a Murder).
Bong Joon-ho once again teams up with award-winning composer Jung Jaeil (Parasite, Okja, Squid Game). About Mickey 17, Jaeil says "Among the film soundtracks I’ve composed, the music from
Mickey 17 is the closest to my personal musical preferences. They are classic and intimate."
Waxwork Records is excited to present the debut vinyl release of MICKEY 17 Original Motion Picture Soundtrack
as a deluxe colored LP featuring "Fire Hand Pour" colored vinyl, heavyweight packaging on reverse board, and an 11"x11" art print insert.
Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.
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"Wind, Again" is Sary Moussa’s fourth studio album and second album on Other People. Based between France and Lebanon, Moussa returns with a riveting electro-acoustic album informed by his ever-changing relationships to space, listening, and resonance as well as his growing interest in the study of harmonics in electronic and electro-acoustic music.
Years in the making, “Wind, Again” approaches distinct musical worlds and languages by bringing together improvisations by musicians performing on Western and West Asian instruments such as the Hammond organ, clarinet, saz, and buzuk with electronic arrangements and textures. Rather than force a rapprochement of these musical worlds through the instruments, and keenly aware of the weighty sonic histories they carry, Moussa proposes another way through which they can exist together in contemporary electronic composition.
Composed of six tracks, each of which demonstrate an array of recording and processing techniques, the album generates moments of tension produced by the synthesis of textural, tonal, and harmonic encounters that Moussa calls “shadows”, which outline an impressionistic musical language, existing at the edge of familiarity. Such moments permeate tracks like “Everywhere at once” and “Violence” that open with the Hammond organ and the saz respectively and slowly reveal an expansive field of sounds that showcases each of the musicians’ characteristic performances and Moussa’s densely layered textures. It is a latent yet unrelenting tension through which the composer invokes rather than represents a collective experiential state, especially familiar to those who know his environment. In “Wind, Again” these shadows are articulations of sounds steeped in traditions they are never quite tethered to. Such articulations are implied and alluded to, they play within a musical reference without the latter explicitly existing in the recording, always teetering, never completely here nor there.
Sonically and musically, the album is fueled by the cultural, social, and personal realities that Moussa was brought up and lives in.
Both personal and musical ties with the musicians who feature on the album is central to Moussa’s practice. In the title track “I will never write a song about you”, musician Julia Sabra opens with rolled piano chords, followed by Paed Conca on clarinet and Abed Kobeissy on buzuk, before Moussa’s electronic processing pieces together, lifts, and sustains the melodic direction of the track that emerged from the musicians’ separate improvisations. For Moussa: “The initial connection between the three performances was made on a track that no longer existed, the original recording was both an obstacle and necessary step for the track we hear on the record. It’s as if we were all telling different stories and I pulled on the thread that held them together”. The track, and more generally the record, is tinged with a melancholy of things lost, though it never fully succumbs to it.
“Everything inside a circle”, Moussa’s most personal track and for which he provides the only vocals on the record, harkens back to a childhood memory of listening to music with his mother in a car: “There was a sound I was looking for — a memory of a sound and how I first heard it. This track is a hybrid of that memory and what I wanted to make of it”. The track relies heavily on generativesystems and perhaps embodies most the ambiguous quality of the record’s music in its refusal to be pinned down by one musical tradition or another.
“Wind, Again” is both familiar and alien, cold and warm; it pays homage to the mechanics, materials, and tactility of the instruments and converges acoustic and synthetic spaces. What anchors the sound of the album are the elements of a whole that cannot find its own idiosyncrasy and that is precisely why Moussa’s album is a tour de force.
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One of Norways most acknowledged and established drummers, is finally ready to unleash his debut album as an
solo artist. DUMMY THICC - who’s real name is Sigmund Vestrheim - has played for acts such as Boy Pablo,
AURORA and with his own R&B/Soul-group Giddy Gang.
This album tells the story of DUMMY THICC, with crisp
snares and drums being the focal point of the soundscape. He invites a bunch of his friends in on the
journey, members from Giddy Gang, Ivan Ave and Vuyo jumps on the mic and instruments to help DUMMY
THICC complete his awaited debut album. The album is a travel in sound, and a perfect introduction to the world
of DUMMY THICC as a producer and artist.
Sit back and enjoy 44 minutes of beautiful beats, R&B and hiphop in the spirit of DJ Harrison, Ohbliv, Madlib and other inspirational figures that have been a key source
for Sigmund.
Grade 2 is a UK punk band from the Isle of Wight, formed in 2013. The young three-piece is made up of Sid Ryan - Bass & Lead Vocals, Jack Chatfield - Guitar & Vocals and Jacob Hull - Drums. Their music can be described as a classic punk sound, hard and fast whilst also including melodic guitar and vocal parts. Influence taken from classics such as The Clash, The Jam and The Stranglers. While touring, the band met Lars Frederiksen (Rancid) who took an interest in Grade 2 and ultimately played some of their music videos to his bandmate Tim Armstrong. Armstrong liked what he saw and not only agreed to produce the band"s forthcoming record but signed them to his label, Hellcat Records. Last December, Grade 2 flew to Los Angeles, and over the course of two weeks, tracked the dozen songs that comprise Graveyard Island. "He"s one of the most efficient people we"ve ever worked with. He knows exactly what he wants. In the studio, he wanted to capture how we sound onstage, so we were tracking songs live with a scratch vocal," vocalist/bassist Sid Ryan said on working with Armstrong.
50 years after the genre turned the music world upside-down, GRADE 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong"s legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk coursing through their veins. Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous Grade 2 is their magnum opus. The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong"s Ship Rec Studio in Los Angeles. "Returning to Ship Rec Studio resparked that magic dynamic" says guitarist Jack Chatfield. "When we"re in there I feel like we reach our full potential. Tim would offer tweaks and tips for some songs, while others he"d compliment as finished first time we played them." "We worked flat-out recording this record," says drummer Jacob Hull, "but we never felt pressured, Tim keeping us in the zone to make the best tunes of our lives.
All Men Unto Me is a project led by Rylan Gleave, composer and vocalist (most notably in Ashenspire and various Paraorchestra projects). Today, All Men Unto Me announces their second album Requiem, an album which re-imagines an ancient mourning in a real, contemporary setting. Taking the broad emotional arcs of the Missa pro Defunctis, these structures pave way for new songs, ruminating on patriarchal power systems and the conditions of transmasculinity within these, through the haze of Queer reverence and forgiveness. In Rylan's words, the Missa pro Defunctis "translates to ‘Mass for the dead’, and refers to the Catholic text taken from the Roman Missal. When set to music, it is called a ‘Requiem’. Requiem masses are usually performed at funerals. I’ve sung in a few Requiems — Mozart, Fauré, Duruflé — when I’ve been in choirs, and felt those dramatic arcs of the structure in my own voice. Writing a Requiem felt like processing my own complex feelings about the Church, patriarchal power within it (and more broadly), and the death of a part of me in a framework that allowed for mourning. The contours of sorrow, light, forgiveness, and reverence made space for these songs to speak to my own identity as a survivor, and use that structure in a way that let me direct an ancient narrative myself." Marrying traditional Anglican soundworlds of electro-pneumatic church organ and stacked choral vocals with heavier sounds, closer to experimental/noise rock and doom metal, Requiem sits at times near Swans, Kayo Dot, Lingua Ignota, Greet Death, and Scott Walker.
Across the Tracks is a collaborative project between underground hip-hop heavyweights Boldy James and producer Williams Conductor. Comprised of ten tracks, the album stays true to their gritty, street-centered narratives, blending slow-paced, hard-hitting bars with Conductor's eerie, sample-laden beats. Boldy's laid-back delivery pairs well with the soulful, moody instrumentals. Tracks like 'St. Juliana' and 'The Ol Switcharoo' stand out, with Boldy's sharp lyricism and Conductor's production shining brightest. The guest features from Boldy's son and sister add some texture to the project as well. The album serves as a good release for fans of Boldy James' storytelling and Williams Conductor's distinct production style. Across The Tracks in bone-colored vinyl is a well-curated offering for those that want more intellectual lyrics in their street rap.
Sea Blue Vinyl. John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.
Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe
Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe. The Dim Gleam edition is kind of a beige vinyl colour
The Southern Fold wurde 2014 in Kilkenny, Irland, von Sänger/Gitarrist/Songwriter Emlyn Holden gegründet. Die Band integriert Elemente aus Country, Blues und Gospel in einen Folk-/Roots-Sound und findet Einflüsse von so weit her wie Hank Williams, Nirvana und alles dazwischen. Holden griff mit zehn Jahren zum ersten Mal zur Gitarre, als er Elvis Presley hörte, und war in seinen frühen Teenagerjahren völlig in die alten Sun-Aufnahmen vertieft. Über die Roots-Rocker Creedence Clearwater Revival und den Punkrock schuf er sich eine vielseitige Inspirationsquelle. Die Entdeckung der Alt-Country-Pioniere Uncle Tupelo und Wilco brachte Country zurück in sein Songwriting und führte ihn auf den Weg zu The Southern Fold. Ursprünglich als Duo im Stil von Gram Parsons/Emmylou Harris gestartet, enthielt die erste EP der Band - "A True Ascension from the Wayward Path" aus dem Jahr 2016 - fünf eigene Songs sowie ein Cover von "Where Did You Sleep Last Night". Es war eine reduzierte Folk-Country-Nummer, gepaart mit sehr persönlichen Texten und zusätzlicher Instrumentierung durch Klavier, Cello und E-Gitarre. Es folgten einige Jahre intensiver Konzerttätigkeit, und bis zum Erscheinen des Albums "Bible Fear"s" im Jahr 2019 hatte sich die Band zu einer vollständigen fünfköpfigen Band entwickelt, die einen eher Folk-Rock-orientierten Sound hervorbrachte. In dieser Post-Covid-Zeit erlebten wir den Aufstieg der Southern Fold aus der Asche mit einigen neuen Singles ("Nothing to Fear" und "Before the Fall"), die 2024 im Eigenverlag veröffentlicht wurden. Zu Holden in einer neuen Live-Besetzung gesellen sich der ehemalige Blackbird & Crow-Gitarrist Stephen Doohan, die aus Mauritius stammende Madeline Leclezio am Gesang, der kanadische Schlagzeuger Gregor Beresford und der ehemalige Midnight Union Band-Bassist Brian McGrath. Diese Kernbesetzung spielte einige äußerst gut aufgenommene Konzerte bei den Kilkenny Roots 2024, im Whelan"s, Dublin mit den Frank and Walters und bei der britischen Ramblin" Roots Revue im April 2025.
From a 4x5m room stacked with vinyl, ashtrays, magazine drafts, and semifunctional synths, Stompin n Risin rises again—reincarnated but not revised.
Originally a spontaneous ritual from the days of blunted dreaming and one-eyeopen ambition, this track first snuck into the world under a different name (Jacobite Fool, courtesy of those tasteful Belgians at International Feel) and went on to become a cult curio. Now, it’s back—rebuilt with the very same machines that once hummed beside the mattress, but still left to run wild like they used to.
The rest of the EP stays close to that spirit: music as lived experience, jammed with friends, lovers, and ex-boyfriends (literally). Lucy’s Electricity is a shimmering daydream, born from a jam with Daniele Labbate, recharged by a whirlwind wedding, and soundtracked by a bittersweet guitar line courtesy of the groom’s bride’s ex. A track for walking into churches—or out of time entirely. A personal favorite of the artist, and maybe the only funeral anthem with this much static joy.
One takes things inward—made with the Moog One for open-air yoga sessions during the era of no-dancing-but-still-dreaming. It’s a sun-dappled, slow-motion dancefloor where breath and bass align. Love 2 Love closes the circle: an unearthed jam with long-time collaborator and platonic supermodel Hanne Uekermann, revived from hard drive purgatory and infused with new life. A love song to the music, the moments, and the friendship behind it.
This record isn’t just a collection of tracks. It’s a lived-in photo album, a soft pulse through oceanic memory, a reminder that all sound comes from life, and maybe all life comes from sound.
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"• Brand new act formed and fronted by Cormac Neeson of The Answer.
• Neeson gathered together a stellar cast of Northern Irish musicians steeped in the alternative folk, Americana, blues and rock scenes to form California Irish.
• Recorded using analogue techniques straight to tape in just four days, ‘The Mountains Are My Friends’ is a love letter to the Laurel Canyon-era West Coast of the 60s and 70s.
• Debut single ‘Big Questions’ leads the campaign and is released on March 28th. Two more singles to follow.
• The band recently made their live debut and will headline Belfast Empire on May 16th
• Neeson has enjoyed global success with The Answer, including world tours supporting AC/DC, UK Top 30 albums, UK No.1 Rock Albums and appearances at major festivals across Europe.
• Full press and radio campaign for the UK in place, with dedicated Irish promo team in addition.
• Full digital marketing campaign has been underway since the turn of the year, gathering over 2000 people onto the California Irish mailing list even before any music has been released
"
This is one of the most obscure singles ever released in Venezuela in the 60s. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. The band's only album, released in 1967, shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original 'El entierro de un hombre rico que murió de hambre', one of the finest garage tunes to emerge from Latin America that was also released as a 7" single. Their stunning take on The Doors' 'Hello, I Love You' takes the B side of this mega scarce 45. A garage DJs favorite! First time 45 reissue, audios remastered from the original master tapes.
Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!
