Buscar:neve

This Vinyl re-issue is of 1976 Burning Sounds release What A Gathering –
a compilation of tracks recorded at Channel One, produced by Jah Lloyd
and named after Mike's biggest hit
Singer and producer Mike Brooks along with Jah Lloyd created their Teams label
kin 1969.

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

After years of being lost at sea, the ancient scrolls containing the long sought after fragments of X-Coast were discovered. It was decided that the transcripts be pressed onto plates and scattered throughout the realms, so that the age-old knowledge may never be forgotten.

On the front side of the disc, we deciphered two XTC transmissions. The first, "XTC I" dates from the original session. The second is the final attempt known to us, "XTC V".

The reverse side unfolds with an interpretation of "XTC V" by the prophet known as Foamek, who brings it to new, uncharted reaches of euphoria. The next scroll, titled "Horns" is a real collector's gem, played just once before during the inaugural X-Coast Boiler Room - transmission Belgrade.

The plate ends with what we believe is the first X-Coast session ever recorded. Simply called "Horizon”, it was evident that the inhabitants of the island stumbled upon something legendary.

This is a one-time opportunity to obtain the scrolls. Do not let them fall into the wrong hands!

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Cloakroom celebrate their tenth anniversary as a band with their new album, Dissolution Wave. Dissolution Wave is a concept - a space western in which an act of theoretical physics—the dissolution wave—wipes out all of humanity’s existing art and abstract thought. In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions. Meanwhile, the Spire and Ward of Song act as a filter for human imagination: Only the best material can pass through the filter and keep the world turning. This is the universe that Cloakroom guitarist/vocalist Doyle Martin conceived as a way of processing the last few years. “We lost a couple of close friends over the course of writing this record,” he says. “Dreaming up another world felt easier to digest than the real nitty-gritty we’re immersed in every day.” With lyrics based on an imagined cosmology, Dissolution Wave also marks a grand expansion of Cloakroom’s dreamy space-rock palette. Written from the perspective of the album’s protagonist—an asteroid miner who writes songs by night—”A Force at Play” has an airy, pastoral feel. Meanwhile, the melancholy title track captures the miner’s regret as they lament that they signed up for such a long stint on the job, while closer “Dissembler” describes their anxiety about the revelator who will judge their work. “If you don’t write a good enough song in this universe, you run the risk of being forgotten and lose the opportunity to return as a meaningful form of life,” Martin explains. The stakes have never been higher!

Acclaimed Los Angeles indie songwriter Alex Brown Church has announced the release of Sea Wolf - “Through A Dark Wood (Deluxe)” on November 19 via Dangerbird Records. “Having it come out now feels kind of fitting,” Church remarked. “‘Through a Dark Wood’ originally came out in March 2020 at the beginning of the pandemic, when we were all entering into a new ‘dark wood’ together. We’re beginning to figure it out, though we’re still not sure what’s next. Just like the story of the album.” “Through A Dark Wood (Deluxe)” includes 5 new songs from the original sessions where Church, coming out of a bruising divorce, wrote, recorded and scrapped a full album's worth of material before starting anew. Deluxe Tracklist: 1. Witchknife 2. Reflections On A Grey Dawn (feat. Dustin O'Halloran) 3. Two Figures 4. Here For You 5. Animal Mind

Carly Pearce veröffentlicht ihr neues Album „29: Written In Stone“.
Bereits mit ihrer Debütsingle „Every Little Thing“ erreichte Carly Pearce 2017 den Spitzenplatz in den
US-Country-Airplay-Charts und knüpfte an diesen Erfolg mit ihrem Duet „I Hope You’re Happy Now“ mit
Lee Brice direkt an und landete nicht nur ihren zweiten Nummer-1-Radiohit, sondern auch ihren zweiten
Platinsong.
„29: Written In Stone“ nahm Carly Pearce inmitten von Tumulten, Erschöpfung und tiefen, seelisch
erschütternden Enttäuschungen auf.
Das von Shane McAnally und Josh Osborne produzierte Album besteht aus 15 Songs, die ursprünglichen
sieben der EP „29“, sowie acht weitere. Die Songs begleiten den Weg der Erkenntnis, Akzeptanz, dem
Lachen und Weinen und schließlich des Weitermachens, um eine Erfahrung reicher.
Carly selbst sagt über ihr neues Album: ”Als ich anfing zu schreiben, dachte ich, ich hätte alles rausgelassen.
Aber es kamen immer mehr Songs, und mir wurde klar, dass ich dieses ganze Projekt brauchte, um wirklich
zu verstehen, wie man auf der anderen Seite wieder herauskommt, und nicht nur für eine kurze Weile.
Jetzt können die Leute sehen, wie man selbst in den tiefsten Momenten aufblühen kann”.
Das Album ist sowohl digital, physisch als CD und jetzt auch auf Vinyl erhältlich.

As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

“I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

“I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

“It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

“I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

“I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

“It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

Brand new in name but certainly not in heritage: Bass player Fatty is a founder member of Submotion Orchestra and has played with the likes of Newham Generals, Andreya Triana and Outlook Orchestra. Illaman is one of the fizziest, most versatile MCs in the game with a previous that flexes from Goldie’s live band to Flux Pavilion co-labs. Pravvy Prav, meanwhile, has a long career smashing tubs for Foreign Beggars, Jorja Smith, Gentleman’s Dub Club, Maverick Sabre and Jehst.

PENGSHUi is the latest project in this shared line of credentials. And quite possibly the heaviest, too. A raucous fusion of punk, grime, metal, bass and beats, PENGSHUi adds to a slow-cooking piquant gumbo of uncompromised sonic fire that’s been bubbling since 1986 when Run DMC and Aerosmith advised us to walk in a certain direction. Always bubbling but never over-boiled into a flavourless formulaic gloop, the fusion of metal and electronics still feels fresh, unruly and energetic over 30 years later.

Never stuck for inspiration, people-powered and newly electrified singer-songwriter, Jamie Webster watched the world get weird and channelled every wicked turn into a new, 10-track album, Moments, set for release on Fri 28 January 2022. Following last month’s teasing single, Days Unknown, Webster reveals the follow up to last year’s number six-charting debut with new, rallying-cry single, Going Out.

Melding together two short stories, one of Paul and the other Annabella, Webster’s renowned people-watching prowess, setting vivid pen pictures of neighbours and strangers in his native Liverpool to music, switches to pin-sharp short fiction for Going Out. Cutting

across the strange absence of empathy for Britain’s young, Webster uses his characters to spell out the loss, frustration and rebellion of the twenty-somethings stopped in their tracks by recent circumstance and a tangle of incomprehensible rules.

Never stuck for inspiration, people-powered and newly electrified singer-songwriter, Jamie Webster watched the world get weird and channelled every wicked turn into a new, 10-track album, Moments, set for release on Fri 28 January 2022. Following last month’s teasing single, Days Unknown, Webster reveals the follow up to last year’s number six-charting debut with new, rallying-cry single, Going Out.

Melding together two short stories, one of Paul and the other Annabella, Webster’s renowned people-watching prowess, setting vivid pen pictures of neighbours and strangers in his native Liverpool to music, switches to pin-sharp short fiction for Going Out. Cutting

across the strange absence of empathy for Britain’s young, Webster uses his characters to spell out the loss, frustration and rebellion of the twenty-somethings stopped in their tracks by recent circumstance and a tangle of incomprehensible rules.

On an early morning in November 2015, THE GHOST INSIDE was involved
in an accident that claimed the lives of their driver, the lives of everyone
in the other vehicle, and resulted in multiple injuries for all of the band
members
Jonathan Vigil (vocals) suffered from a fractured back, ligament damage, and
two broken ankles. Zach Johnson (guitar) has since had 13 surgeries for a femur
injury. Andrew Tkaczyk (drums) ultimately lost his leg. The future of the band was
very much up in the air throughout 2016, as everyone struggled to recover.The
road to recovery was both mentally and physically extensive but THE GHOST
INSIDE were determined to get back to doing what they love. Nearly four years
later, the band did just that, returning to the stage July 2019. Originally meant to
take place at the historic Shrine Auditorium, tickets sold out so quick that the gig
had to be moved to the parking lot, selling double the venues capacity. Over 8000
people witness this return to the stage. The accident will always be a defning
moment for THE GHOST INSIDE, but never what defnes them.

Solid olive green vinyl in a regular sleeve with an etched B-side
On their EP entitled perfect, MANNEQUIN PUSSY's new songs burst forth from
the sprawling months of social isolation & internet-fueled anxiety. The band rages
about the practice of condensing your daily life into a manicured stream of
images for social media. What happens to the social impulse when everyone you
love or even like is leveled into a set of pixels. "It was a really weird psychological
experience, being bombarded by images of other people constantly when you are
not around a lot of other people," vocalist Missy Dabice says.
After spending most of the year 2020 apart from each other and everyone else,
the members of MANNEQUIN PUSSY decided to book studio time and work
together in person again. What came out of that compressed session time were
some of MANNEQUIN PUSSY's most furious, incandescent songs yet. The
Philadelphia based band teams up yet again with producer Will Yip to satiate fans
with perfect, the EP follow-up to their critically acclaimed 2019 Epitaph debut
Patience (Pitchfork Best New Music, sold out US tour, and "one of the best rock
releases of 2019" according to Paste Magazine). "We just fgured if we forced
ourselves into this situation where someone could hit 'record,' something might
come out," Dabice says. "We'd never written that way before."

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The first release includes a gorgeous duet featuring David and Louise Wener also from Sleeper on ‘We Should Be Together’, and it’s coupled with a rousing new track called ‘Don’t Give Up Without A Fight’ which combines classic Wedding Present feistiness with a Krautrock finale. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings.‘We Should Be Together’ will be available to listen to at The Wedding Present’s official YouTube channel from Tuesday 19 October at 12 noon. Subscription details with an early bird incentive can be found at 24songs.scopitones Individual singles and a collector’s box can be ordered from the same site or via all participating record shops. Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

On August 27th 2021 The Third Sound released their fifth album ‘First Light’ on Fuzz Club Records and it is now being given a second pressing after selling out upon release the first time aorund. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavor since the release of his self-titled debut on Newcombe’s A Recordings a decade ago. Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.” ‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Now, for the first time, the LP is available remastered and re-packaged as a gatefold double 12” 180gram vinyl release.

This album also saw the debut of the then talented young pianist and singer, Poppy Morgan, who co-wrote the melancholy Ananda as a duet with what Reilly dryly called 'intrusive guitar'. For the uninitiated, Vini was the first artist signed to Manchester’s influential Factory Records, co-wrote and played on Morrissey’s first solo album ‘Viva Hate’, and was heavily featured in the Manchester music culture film, ’24 Hour Party People’. Vini Reilly has recorded under the name The Durutti Column since 1978 and has a rich portfolio of work, releasing over twenty albums in this time. Ever critical of Vini’s voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this return of The Durutti Column.

2024 Repress

Cool - gelassen - überraschend: Volume 15 dieser superlativen Serie wurde wieder von Compost’s Mentor Michael Reinboth zusammengestellt. Das pralle Paket birgt 21 Tracks, davon 8 exklusive unveröffentlichte Delikatessen und gibt es als 4-LP / 2xCD. Viel Vergnügen.

Die exklusiven Tracks kommen von: Area (schätze, man kennt seine brillianten Innervisions Veröffentlichungen), Arnau Obiols & KAYYAK (schwer von Gilles Peterson gefeatured, ihre EP “Chang‘an” war in seiner 2021 top 5 Liste), Ron Deacon (gehört zur Workshop-Crew mit Move D, Even Tuell and Kassem Mosse), Class Compliance, oh man was für ein Hammer Track, Mille & Hirsch (Operatoren des feinen Polish Records - Labels), All Is Well (dahinter steckt natürlich Fred Everything), Ben Sturm (ein neues Talent aus Leipzig’s viraler Underground Szene) und Oliver Kieser (bestens bekannt als Teil von Kieser & Velten mit einigen Platten auf G-Stone).

Gut, schön, wie immer, fast alle Tracks sind wunderbare Hybride, perfekt für jedes eklektische Set, aber auch für den entspannten Genuss von Wein, Bier, härterem oder grünem Zeug. Vielleicht besonders zu erwähnen wäre der Esa Williams Remix von Bantu Clan Vs Sarabi and Kevin Yost’s Original Mix von “Another World”, die gab es so in den Versionen bisher nicht auf Vinyl.

Diverse Magazine haben die Future Sounds Of Jazz als eine der besten Compilation - Serien aller Zeiten gewählt. Wir sind geschmeichelt. Mit dem Start der Reihe 1995 wurde das Genre Future Jazz quasi aus der Taufe gehoben, unetabliert.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.