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180gr./Printed Innersleeve/500 Cps Red Vinyl

Dutch singer Anouk released her sixth studio album, For Bitter Or Worse, in September 2009. The album's lead single, "Three Days in a Row," was an epic blues rock ballad where Anouk expresses her love for someone she only knew for three days but believes their love story will continue. The song reached number 1 on the Dutch charts. "For Bitter Or Worse" also performed well, reaching number 1 in the Netherlands and number 2 in Belgium. Three additional singles, "Woman," "For Bitter or Worse," and "Lovedrunk," were released from the album.

'Dreamer Awake' is the fifth album from Rachel Sermanni, her first for
Navigator Records (Katherine Priddy, Kitty Macfarlane, Sam Kelly & The
Lost Boys, Bellowhead)
Hailing from the Scottish highlands, Sermanni is an enchanting singer-songwriter,
whose performance and lyrics draw from a deep well of mysticism, dreams,
nature and the simple-complex experience of being human; a contemporary folk
musician influenced by a wealth of genres including jazz, rock, old- time and
traditional.
'Dreamer Awake,' was recorded at Middle Farm Studios, Devon with co-producer,
Peter Miles. Recording live to tape with people that, "most of the time, are jazz
improvisers," the sessions were conducted with an almost Lynchian approach,
with Sermanni choosing "to flow through the experience like a dream". The result
is an album that captures the intimacy of the room, and the immediacy of these
songs that transform thought, memory and emotion into such wondrous light.
Channelling the metamorphic experience of becoming a mother, and processing
the demise of a long-term relationship, Sermanni dove deep into her psyche and
returned with songs that have a sharpness, an acuity of feeling, and that capture
the fluidity of our mind and the depth of our emotional experience.
Rightly described by critics as a "Folk noir gem" (MOJO), "Stately, poetic" (CLASH)
and "Folk of the Highest Order" (Time Out), Rachel Sermanni has been making
music for over a decade and has developed her artistic voice over her many
releases, each time pushing boundaries and experimenting with different musical
textures while maintaining the raw emotional connection, to herself and others,
that defines her music.
Rachel Sermanni has toured the globe, played alongside artists such as Mumford
& Sons, Fink, Ron Sexsmith, John Grant, The Staves, Karine Polwart, The Maes
and many more at venues and festivals all over, most recently playing with Charlie
Cunningham. She also runs a songwriting workshop called Cultivating A Creative
Life and her podcast, Rachel Sermanni's Finger That Points To The Moon,
similarly explores her relationship to creativity and inspiration, with the hope that
it will help point in the direction of truth for herself and those listening

Maurice Louca & his band Elephantine announce Moonshine, shining brightly with a live, raw, collective sound. Maurice Louca's band is incredible: double drummers Tommaso Cappellato & Özün Usta, Piero Bittolo Bon on alto, Daniel Gahrton on baritone and Isak Hedtjärn on clarinet, Rasmus Svale Kjærgård Lund on tuba, Rosa Brunello on bass, Els Vandeweyer on vibraphone, Louca on guitar/lap steel/synth.

As Asher Gamedze puts it in his essay: "Abstract territories of freedom, always grounded, expansive, multiple, internally differentiated, and elephantine."

One of the most gifted, prolific and adventurous figures on Egypt's thriving experimental arts scene, Louca has in recent years garnered a global reputation through three previous solo albums and an expanding, evolving lineup of genre-defying collaborations. The Wire called his 2014 sophomore solo effort, Salute the Parrot, "remarkable music-dense, driven and splashed with colour.

For Louca, Elephantine serves as both the pinnacle of his wide-ranging experience and a bold next step in his development as a composer, arranger and bandleader, from Cosmic Jazz, African and World music to transcendental modal traditions. The music-from its pensive lulls through its stretches of hard-grooving hypnosis and moments of avant-jazz.

"Stratosphere", Dusters Debütalbum aus dem Jahr 1998, das man sich am besten schon im Mutterleib anhört, hat die erste Welle des Slow Core gleichzeitig beendet und neu erfunden. Eine vierspurige Traumlandschaft, die die Nachbarn aufweckt und sie dann wieder in den Schlaf wiegt. Trübe, arpeggierte Gitarren legen sich über einen bedächtigen Schlagzeuger, der keinen wirklichen Platz hat, während halb hörbare Vocals vor dem Unwohlsein der Jahrtausendwende warnen und den Hörer subtil ermutigen, "rock out, rock out, rock out, rock out." Diese foliengeprägte und nummerierte 25.Jubiläumsausgabe erscheint auf LP, CD und Kassette. Die LP-Editionen werden auf 180G-Vinyl gepresst und enthalten ein Textblatt und ein Poster. Die CD- und Kassette-Editionen kommen mit einem zusätzlichen Track, 'Echo Bravo'.

"Stratosphere", Dusters Debütalbum aus dem Jahr 1998, das man sich am besten schon im Mutterleib anhört, hat die erste Welle des Slow Core gleichzeitig beendet und neu erfunden. Eine vierspurige Traumlandschaft, die die Nachbarn aufweckt und sie dann wieder in den Schlaf wiegt. Trübe, arpeggierte Gitarren legen sich über einen bedächtigen Schlagzeuger, der keinen wirklichen Platz hat, während halb hörbare Vocals vor dem Unwohlsein der Jahrtausendwende warnen und den Hörer subtil ermutigen, "rock out, rock out, rock out, rock out." Diese foliengeprägte und nummerierte 25.Jubiläumsausgabe erscheint auf LP, CD und Kassette. Die LP-Editionen werden auf 180G-Vinyl gepresst und enthalten ein Textblatt und ein Poster. Die CD- und Kassette-Editionen kommen mit einem zusätzlichen Track, 'Echo Bravo'.

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

Anlässlich des 20jährigen Jubiläums erscheint ”The Antidote” von Moonspell am 29.09.2023 als Re-Issue auf CD im Digipack und als 1LP Gatefold.

Toy Tonics going New Wave Disco with Baby’s Berserk’s self-titled debut album (to be released on 29 September).

There are many shades of funk in dance music. Berlin’s Toy Tonics label brings up artists that reflect many of these different aspects in dance music. Now the label comes up with a band! A band that is inspired by 1980ies New Wave as well as the Y2K Indie dance scene. Two guys and 2 girls from Amsterdam and Montreal called Baby’s Berserk.

Baby’s Berserk is about taking the freedom to be who you want to be, about being comfortable. Having played in all-girl punk bands since the age of 14, the bands singer Lieselot is an expert on female empowerment. “Dress like a girl and act like a boy,” is a catchphrase she lives up to every day and it clearly is a message that resonates with the band’s wild fans.

In the great tradition of Roxy Music, Throbbing Gristle and Malcolm McLaren, Baby’s Berserk is not just about the edgy music, but also about a very strong own visual style. They readily blend their sounds with underground fashion. What you see is what you get and seeing Baby’s Berserk is feeling right at home. Lieselot is a visionary when it comes to stage presence. Have you always wanted to see an electronic band with a punk attitude perform wearing a mix of haute couture and Flintstone-style rags? Look no further, it’s Baby’s Berserk.

Following on the critically acclaimed singles ‘What I Mean’ (2020) and ‘Toxic Kisses’ (2022), Baby Berserk’s highly anticipated self-titled full-length is now finally about to see the light on Berlin’s Toy Tonics records. Sonically designed for gritty rock venues as well as up-to-date edgy dance clubs, Mano’s lush compositions smoothly intertwine with the highly associative lyrics written by Puggy and Lieselot. Poets and literary addicts may think they’ve just discovered the rock & roll equivalents of Sylvia Plath, Kurt Vonnegut and Allen Ginsberg. To tell you the truth: their wild guess is pretty accurate as the works by these greats lie scattered around the Baby’s Berserk studio for inspiration.
The band was born in a laboratory back in 2019. Tired of being in bands with unruly and unpredictable humans, Mano Hollestelle set out to create a group of high precision robots to create the post-punk sound he had in mind. His outdated technology of floppy disks and cassette tapes worked well to program the androids, until one day a 90s rave mixtape was mistakenly entered into his computer. House music is a feeling and the punk bots instantly got hooked on it upon hearing it for the first time. They could never be reset to factory settings again. Mano worked tirelessly with his androids, currently known by their humanoid names of Lieselot Elzinga, Puggy Beales and Eva Wijnbergen, to fulfil his evil plan to make the rockers dance and the dancers rock. Baby’s Berserk is the fiendish extension of this plot. Beware, the band’s bass driven grooves and computerized beats have been known to cast a spell upon all within earshot.

So what do the songs on ‘Baby’s Berserk’ tell you? That it’s totally fine to have lots of fun in life! To have a boyfriend as an accessory (‘Accessories’), to get inspired by Sponge Bob (‘Dancing with the Fish’) and to blend your spirits with mixers whenever the hell you feel like it (‘Rum ‘n’ Kola’).

Baby’s Berserk member Puggy Beales on ‘Limousine’: “Decant the wine from my tip jar to yours. Soon we'll be on easy street, chauffeured home from the rat race each evening. Is it everything you'd hoped it would be?”

Check not only the debut album but also the forthcoming Remix EP with remixes by Each Other, Niklas Wandt, Sam Ruffillo, Kris Baha and Nicolini.

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card

Occasionally, you find music outside the commercial mainstream, outside of everything – the music of visionaries, eccentrics, inventors, loners, the keepers of secrets, the path-finders. Moondog, Daphne Oram, Harry Partch are from this mould. And so too is Lori Vambe.

New on Strut, the first ever reissue of Vambe’s privately pressed original albums from 1982, Drumland Dreamland and Drumgita Solo. A self-taught drummer, inventor, and sonic experimentalist, Lori Vambe is a unique figure in British music. Creator of his own instrument, the drumgita (pronounced ‘drum-guitar’) or string-drum, Vambe intended to create a kind of music that had never been made in order to pursue access to the fourth dimension.

Vambe was born in Harare, Zimbabwe and his father, Lawrence Vambe, was a noted Zimbabwean journalist and author. Moving to London in 1959, Vambe immersed himself in the Brixton squat movement of the early 1970s, teaching himself to drum and creating a short-lived performance group, The Healing Drums of Brixton (Vambe, the sculptor Alexander Sokolov and outsider musician Michael O’Shea). Vambe later had a dream-vision involving a feeling of ecstasy while playing an unknown instrument that extended from his own umbilical cord; the instrument would manifest itself as the drumgita. In 1982, he privately produced a pair of home recordings, the diptych set Drumgita Solo and Drumland Dreamland, releasing them on his own label Drumony. On these records, he rejected any commercial aesthetic and employed tape effects, temporal shifts, reversed sound and overdubbing to investigate space-time and access the fourth dimension. Combining layered drums with the rhythmic throb of the drumgita and, on Drumland Dreamland, an improvised piano performance by Brazilian concert pianist Rafael Dos Santos, the albums are both hypnotic and perturbing.



Both albums were cut at Portland Studios by Chas Chandler and stand as a concealed monument of Black British experimental music. 500 copies of each record were originally pressed, and both were released together. The albums were never performed live.



For this first ever reissue of Drumland Drumland and Drumgita Solo, Strut presents the two albums in their original artwork, housed in a deluxe slipcase including an additional 8-page 12”-sized booklet featuring unseen photos, liner notes and an interview with Lori Vambe by The Wire magazine writer Francis Gooding. Both albums are fully remastered by The Carvery.

Das Jeffrey Lee Pierce Sessions Project, das sich aus Teilen des legendären Gun Clubs, Freund*innen des Sängers Jeffrey Lee Pierce (1958-1996) und Fans des Künstlers zusammensetzt, präsentiert mit "Axels & Sockets" den dritten Teil eines außergewöhnlichen Projekts. Mit Künstler*innen wie Nick Cave, Debbie Harry, Mark Lanegan, Lydia Lunch, Warren Ellis, Mick Harvey und Kid Congo Powers sind hier viele bekannte Namen der ersten zwei Teile "We Are Only Riders" und "The Journey Is Long" vereint. Zum ersten Mal dabei sind keine Geringeren als Mark Stewart, Thurston Moore, Primal Scream, Andrew Weatherall und Punkikone Iggy Pop! Koordiniert von Pierce"s musikalischem Wegbegleiter Cypress Grove, schaffen es die Musiker*innen auch beim dritten Teil, aus Songskizzen, Demoaufnahmen, Riffs, Textfetzen und Soundschnippseln, die Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte, neue und atemberaubende Songs zu machen.

The timeless artistry of Billie Holiday is something that every generation gets to discover for themselves. The iconic songs on this collection showcase Holiday's unique ability to infuse every lyric with unparalleled emotion and depth. With her distinctive voice and incomparable phrasing, Holiday remains an enduring performer and a powerful influence on generations of musicians. Great Women Of Song is a testament to Holiday’s profound legacy and an essential addition to any music collection

Einer der bekanntesten australischen Indie-Künstler, DOPE LEMON, meldet sich mit der Ankündigung seines vierten, glänzenden Albums "Kimosabè" zurück.

"Kimosabè" ist ein göttliches und offenes Universum mit ätherischen und hypnotisierenden Klanglandschaften, das den Status Quo übersteigt. Es ist das erste DOPE LEMON-Album, das das Gesicht von Angus Stone, dem Kopf des Projekts, auf dem Cover zeigt. Der Titeltrack ist voll von gemäßigten, melodischen Gitarren und beruhigenden Drums und ist ein weiteres müheloses Angebot, das von DOPE LEMONs beruhigender Stimme charmant ergänzt wird. Die charismatische Basslinie lässt den Song nahtlos fließen, während die schwüle Produktion eine ruhige Atmosphäre ausstrahlt und den Hörer auf entspannte Weise umarmt. Geleitet von einem fröhlichen, funkigen Stolzieren und einem treffenden Text - "don't go f*ck with my vibe" - geben das Motiv und die Persönlichkeit des Songs einen Ausblick auf das kommende Album.

Einer der bekanntesten australischen Indie-Künstler, DOPE LEMON, meldet sich mit der Ankündigung seines vierten, glänzenden Albums "Kimosabè" zurück.

"Kimosabè" ist ein göttliches und offenes Universum mit ätherischen und hypnotisierenden Klanglandschaften, das den Status Quo übersteigt. Es ist das erste DOPE LEMON-Album, das das Gesicht von Angus Stone, dem Kopf des Projekts, auf dem Cover zeigt. Der Titeltrack ist voll von gemäßigten, melodischen Gitarren und beruhigenden Drums und ist ein weiteres müheloses Angebot, das von DOPE LEMONs beruhigender Stimme charmant ergänzt wird. Die charismatische Basslinie lässt den Song nahtlos fließen, während die schwüle Produktion eine ruhige Atmosphäre ausstrahlt und den Hörer auf entspannte Weise umarmt. Geleitet von einem fröhlichen, funkigen Stolzieren und einem treffenden Text - "don't go f*ck with my vibe" - geben das Motiv und die Persönlichkeit des Songs einen Ausblick auf das kommende Album.

Einer der bekanntesten australischen Indie-Künstler, DOPE LEMON, meldet sich mit der Ankündigung seines vierten, glänzenden Albums "Kimosabè" zurück.

"Kimosabè" ist ein göttliches und offenes Universum mit ätherischen und hypnotisierenden Klanglandschaften, das den Status Quo übersteigt. Es ist das erste DOPE LEMON-Album, das das Gesicht von Angus Stone, dem Kopf des Projekts, auf dem Cover zeigt. Der Titeltrack ist voll von gemäßigten, melodischen Gitarren und beruhigenden Drums und ist ein weiteres müheloses Angebot, das von DOPE LEMONs beruhigender Stimme charmant ergänzt wird. Die charismatische Basslinie lässt den Song nahtlos fließen, während die schwüle Produktion eine ruhige Atmosphäre ausstrahlt und den Hörer auf entspannte Weise umarmt. Geleitet von einem fröhlichen, funkigen Stolzieren und einem treffenden Text - "don't go f*ck with my vibe" - geben das Motiv und die Persönlichkeit des Songs einen Ausblick auf das kommende Album.

The timeless artistry of Billie Holiday is something that every generation gets to discover for themselves. The iconic songs on this collection showcase Holiday's unique ability to infuse every lyric with unparalleled emotion and depth. With her distinctive voice and incomparable phrasing, Holiday remains an enduring performer and a powerful influence on generations of musicians. Great Women Of Song is a testament to Holiday’s profound legacy and an essential addition to any music collection

For her new album - aptly entitled Veronica Swift - the versatile artist stretches her wings and opens up her wide range of influences to share who she truly is: a once-in-a-generation vocalist with unabashed confidence.

In Flight, BNL's eighteenth studio album, retains the dry wit and keen observation we expect from vocalist/ guitarist Ed Robertson, bassist Jim Creeggan, keyboardist/guitarist Kevin Hearn and drummer Tyler Stewart, but adds a strong sense of maturing and lessons learned.

There is also a sense of joy (which is exemplified in the first single, "Lovin' Life) and appreciation. On the new single, "One Night", BNL honor "...the magical connection that happens between a whole audience and a band." Songwriter Robertson, says, "When it goes right - which it almost always does - for that 'One Night', it's a very intense connection."

In addition to the eight songs written/ co- written by Ed Robertson, the album features four songs from Kevin Hearn, (two of which are love letters to Toronto - "See the Tower" and "The Peace Lady") and two from Jim Creeggan (including "Wake Up", a co-write with the Arkells' Max Kerman). Produced by Grammy and Award-Winning producer Eric Ratz, In Flight is ready for takeoff.

Dirty Dollhouse is the multi-genre music of Philadelphia-based artist Chelsea Mitchell, a folk chanteuse with classical training and a retro-pop composer with a soft spot for country. After releasing her first lo-fi EP, Married in the Aviary, Mitchell received the Tri-State Indie Vocalist of the Year award and the lyrics to her song Nobody's Daughter were showcased in American Songwriter Magazine. Her follow-up EP, 25 Shades, saw a departure from traditional folk and embraced a Nashville vibe while 2017's full-length album Vinyl Child was a mixture of darkly contemplative pop songs and quiet, intimate confession. Drawing from many muses has produced a uniquely diverse catalogue, but it has also made it near-impossible to pin down who Mitchell sounds like. In sultry-toned moments you might hear Nicole Atkins, a soft bird-like peak could make you think of Kacey Musgraves, and a certain belt may summon Brandi Carlile. Though her vocals range from soft twang to unabashedly operatic, it would suffice to say that Mitchell's songs all fit under the same 'singer-songwriter' umbrella as her lyrics weave a diary page to life and her band expands on structural simplicity with subtle grace. As bassist Joshua Machiz, drummer Eric Lawry, and lead guitarist August John Lutz II are now full-time members, Dirty Dollhouse has found a new and exciting momentum, opening for rising stars like Nikki Lane and Amanda Shires and playing to a wider audience.