Dreamy synths, crispy glitch, tight percs and smooth pads; a selection made from the digital release by global aphasia from last year. mindcolor have been selecting a few of these as they are too good to remain in the digital realm only, with more vinyl releases in the pipeline. Stay tuned!
Black vinyl lp with white center labels plus photographic insert including tracklist.
It’s very difficult to describe someone as prolific as Misha Panfilov. So, I feel the best way to define him is to think of a “Trivial Pursuit Playing Piece,” where each pie piece represents one of the bands he heads up, and each band has its own distinct style and genre. Yet, when looked at all together, create the whole musical persona of Misha. This is the lens I would like to view his latest endeavor, Days As Echoes.
The vibe on this sophomore release channels Krautrock philosophy and Library music, peppered with elements of jazz, Ethiopian, cinema, ambient and bits of everything between. This atmosphere is created from all the instruments Misha uses and the resulting compositions are heard as repetitive patterns that are forged from the multiple layering of melodies. Thus, creating six unique songs with emotional granularity, yet collectively encompass a genuinely positive “feel good” vibe…with a hint of nostalgia.
Moods of the day, moods like echoes say, A future of hope is yours, by following the Sun’s ray.
The opening track, “Days As Echoes,” is a dedication to a much simpler time when the sky was bluer and the snow was whiter…just like how you remember it when you were a child. A time when people honestly cared more about everything as a given, and not as a selfish accolade. A time when optimism seemed within reach. In other words, nostalgia marred by awareness.
…Leading to a path where the skies are not gray. Where dreams of castles in the air are the mainstay.
“In A Dream” has a style that pays homage to both spiritual jazz and ambient music. A simple theme is introduced and leads to the climax of this stormy dream, putting it all in perspective. That pivotal point when one realizes the truth by re-tracing the events, which led to the epiphany of how to find the answer while traveling within this airy soundscape.
…Diurnal or nocturnal, day or night, Traveling the path of truth must be done without fright.
One can’t help but feel a definite traveling vibe that comes from “Moonscape Waltz” To me, it has a dual-characteristic that can be visualized as a train trip, either at sunrise or sunset. Regardless, the time is not of major relevance, but the actual pursuit is. Lao Tzu said, “The journey of a thousand miles begins with that first step.” This track takes you beyond that initial step into this vast world toward your destination as you search for the truth.
…The unknown is real, but you know the deal. People need people to show which direction you point the wheel.
“Together” is the most peaceful and solo oriented compositions of this album. It shows how one cannot achieve happiness alone, but the importance of having someone special or a group of others to help along the way. Not only to help seek your goal, but also the ability to enjoy the scenery while on your journey
…The end of this tunnel has a light that’s so bright. Illuminating the trodden way, your destination, now in sight.
One is free from the chains of the unknown as you listen to a “Few Layers For Smith”, a dedication to a friend. A song that draws energy from the ECM works of Steve Reich, thats married with a primitive lo-fi basement setting. Its positive force breaks those encumbrances and gives you a glimpse of your prize. But you ruminate on this and come to the conclusion that the path that led you there is equally important as the goal itself. Question is, how do you share your realizations and experiences?
…The route was cast, the trials have passed. The glittering treasure you sought is yours now, at last.
“Ocean Song” meanders from the ritual rhythms of its shoreline to the crashing riptides of unbridled guitar feedback, creating this raging ocean atmosphere. However, its message is quite clear and states that people’s goals and experiences are not just meant for personal growth, but to be shared with
others, so that they too can live vicariously thru your story and somehow utilize it for their own.
…The prize has been won, but the journey is never done. You now have the responsibility to share everything under the Sun.
These six songs, each with its own sound, collectively comprise the vibe of this album. One cannot help but feel a sense of joy and fulfillment when listening to it. Each song has its own unique mood, yet together create an atmosphere of hope and happiness that has no choice but to spill out of the listener. I feel this was the ultimate goal of Misha’s on this record. Quite a challenge for the man who never sleeps, but is always searching for the perfect beat. One may not fully grasp his musical mind, but this album does give you a gateway into the moods and magic of Misha!
- Brent Sawicki
The lovely, longing ‘I Still Think About You’ was a regular highlight of the band’s earliest live sets and was one of the first songs they wrote together. “We wrote it three years ago, before we had released any music,” explains the band’s Ben Easton. “It had a certain youthful optimism that we loved, but after a few road tests we decided to shelve it. However, we knew that there was still something in it, so we brought it back earlier this year and we’re chuffed with the result.” “We wanted to capture the purity of wanting to see someone again, hoping they appear around the corner, or in your local park or pub, without any form of doubt that creeps into one’s mind as we grow older,” adds singer Dottie. “We enjoyed exploring and challenging ourselves to achieve a softer and uplifting narrative – it’s possibly the most joyful thing we’ve ever written.” On the flip side, the ‘No Ordinary Love’ reframes the slick R&B of the original as a dark and delicious dreampop / trip-hop crossover. “The original was pretty much on repeat during our tour late last year and we thought it’d be an interesting thing to try,” explains the band’s Ben Easton of the decision to cover the song. “It’s a good representation of where we’re going, sonically, and it was also our first recording experience with Harry Catchpole on drums and so we particularly focused on what he brings to the table. We experimented with different snares, mics and other effects to create our own kind of drum sample which is something that feels important to the deary sound going forward.”
Initially serving as the house band for Stax Records, organist Booker T. Jones, guitarist Steve Cropper, bassist Lewie Steinberg (later replaced by bass monster Donald ‘Duck’ Dunn), and drummer Al Jackson Jr. were instrumental in creating the “Memphis Sound.’ They recorded the basic tracks for well over a hundred records, including backing some of the greatest artists of all time: Otis Redding, Sam & Dave, Rufus Thomas, and Albert King, all the while breaking barriers as one of the South’s first integrated acts. 1966’s And Now!’ is the first to feature long-term bassist Duck Dunn, who helps create a nightclub feel that alternates between some of their most aggressive recordings and most sultry. No stranger to being in the U.S. and U.K. music charts (in both the Hot 100 & R&B categories), the jazzy first single off the record, “My Sweet Potato,” landed them yet another top 40 placement.
Greta Kline's musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalogue of bedroom recordings and as a performer and advocate of New York's All Ages DIY scene. The beauty in Kline's writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity. In 2014 Kline released her first studio album, Zentropy. Within months of its release, Zentropy became one of the most critically acclaimed independent albums of the year and was named New York Magazine's #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.
Back in 2016 a talented wordsmith from the Bronx going by the name Mickey Factz teamed up with producer Nottz to release his full-length "The Achievement: Circa '82". The album is an ambitious piece of work that finds Mickey trying to encapsulate all his thoughts in lieu of this very moment, with Nottz serving as the executive producer providing a plethora of landscapes for Mickey to illustrate his stories. Featuring guest appearances by names such as Styles P, Smoke DZA, Phonte, Curren$y, Royce Da 5'9", Skyzoo, Stalley and several others, this deluxe and extended edition also presents a few remixes and unreleased tracks, all packed in a 2LP limited edition vinyl, bringing Mickey's achievements on physical copy for the first time ever.
LOSER pressing on - LIGHT BLUE BIO VINYL. Auf ihrem kaleidoskopischen zweiten Album, The Starrr Of The Queen Of Life, definiert Debby Friday den Erfolg auf ihre Weise. ,Ich will ein Star sein, diesen Wunsch kann ich nicht verbergen", sagt sie. ,Aber ich will nicht den Traum von jemand anderem leben oder einem vorgegebenen Weg folgen." Für die nigerianisch-kanadische Universalgelehrte bedeutet Starrr zu sein, in den Extremen zu leben: öffentlich oder privat, Selbstüberschätzung oder Demut, Fliegen oder Fallen. Ein Starrr zu sein bedeutet, den apokalyptischen Hedonismus eines nächtlichen Raves zu umarmen - und die Gemeinschaft im ,dunklen Raum, Mädchen in der Schlange für die Toilette" in der brummenden House-Hymne ,All I Wanna Do Is Party" zu finden. Es bedeutet, dass sie mit den Detroiter Techno-Wunderkindern HiTech in ,In The Club" Zeilen über Flaschen auf Eis austauscht und auf der Tanzfläche ausflippt, während sie zugibt, dass sie ,in diesen Tagen kaum auf der Tanzfläche ist". Es ist der Sound der Entdeckung, was nach dem Erfolg kommt, von dem die meisten Künstler nur träumen - wie man hell brennt, ohne auszubrennen. In 11 Songs stellt The Starrr Of The Queen Of Life Freitags chamäleonartigen Gesang zur Schau. Von der spärlichen, hauchzarten Schönheit des liebeskranken ,Leave" bis hin zum treibenden Post-Punk von ,Darker The Better". Der Gewinn des Polaris-Preises 2023 für ihr Debütalbum GOOD LUCK hat Debby Friday nur noch mehr angespornt: ,I'm tryna see more/ Man, I want the payoff" rappt sie über laserartige Synthesizer auf dem mühelos kopierten Kiss-off ,Lipsync`. Aber das Leben auf Messers Schneide kann nur eine gewisse Zeit lang aufrechterhalten werden: Während einer Nonstop-Tournee zur Unterstützung des Albums wurde sie schwer krank. Die Diagnose? Stressinduzierte Gürtelrose. Diese Erfahrung zwang Friday dazu, sich nach innen zu wenden. Im folgenden Jahr änderte sich ihr Management, ihre Routine und ihre Prioritäten. Um ihre Vision von radikaler Ehrlichkeit auf der Tanzfläche zum Leben zu erwecken, rekrutierte Friday den australischen Produzenten Darcy Baylis (Wicca Phase Springs Eternal). Die beiden kehrten zwischen ihren Tourneen in ihre De-facto-Heimat London zurück und tauschten im Studio von morgens bis Mitternacht Ideen aus. The Starrr Of The Queen Of Life ist voll von verschlüsselten, wenn-du-weißt-schon-wem-Referenzen, die Liebesbriefe und Anspielungen aus den Namen von It-Girl-Parfüms, französischem Cognac und hellenistischen Prophetinnen, die in Zungen sprechen, verweben. Es liest sich wie eine Manifestation von Freitags Streben nach einem experimentellen Popsound, der sich immer noch unverkennbar nach ihr anfühlt. ,Dieses Album handelt von der Idee, nach etwas zu greifen", sagt sie. ,Es geht darum, die Zeichen zu sehen und diesem Impuls zu folgen, immer mit der Möglichkeit, entweder in die Sonne zu fliegen oder auf die Erde zurückzufallen." Auf The Starrr Of The Queen Of Life erhebt sich Debby Friday in die Lüfte, um ihre Flügel zu befestigen und dem Klang ihrer eigenen Stimme zu folgen.
Blodsträngen, the third from Gothenburg's inimitable fourpiece Blessings, begins and ends in the same space: the safety and familiarity of their rehearsal room. In between these moments however, the album knows no boundaries; it rampages through your inner sanctum, upending everything it can, razing everything you hold dear and drawing on the walls whilst panting, drooling and muttering to itself in strange tongues_ Blodsträngen is Blessings fine-tuning their deliberately dissonant sound whilst simultaneously casting their net wide for ever more left-field, experimental influences; a disparate collection of idiosyncrasies that the band somehow manage to pull into something cohesive, captivating and empowering. The band leave the messages and meanings behind their music open to interpretation as a means of sharing this attitude of openness with their audience because, when all is said and done, all that matters is all playing disgustingly loud music together in a room. FOR FANS OF Unsane, Breach, Young Widows, Black Flag, Trap Them, Converge, Old Man Gloom, At The Drive In, Swans, The Jesus Lizard
Following on from his highly acclaimed debut Len Parrott"s Memorial Lift, Baxter proves that this was no fluke. His 2nd album Floor Show sounds like it was recorded in St Paul"s Cathedral, with vocals added in the whispering gallery. Narratively, it"s seems to be about a disintegrating relationship, although this is no confession booth moment. Guitars float like ectoplasm, Wurlitzer"s spin beneath mirror balls, summoning the presence of spectral beings, swaying to luxurious, narcotic music that predates trip-hop by a good sixty years. Stand-out tracks include the single "Lisa Said", "Cocaine Man" and the wonderful "Francesca"s Party". The album was produced by Baxter, Nick Terry and mixed by Craig Silvey (The Coral, Magic Numbers) in West London in the winter of 2004 / 2005. The band are Damon Reece on drums and Mike Mooney on the electric guitar- both former members of Spiritualized.
Back in again soon. Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson is one of the world's leading collectors and DJs of gospel music. You hold in your hands a collection of some of the rarest Gospel funk records from Belson’s amazing collection featuring everything from the laid back breakbeat laced “I Don’t Want to Be Alone" by Allen Gauff Jr to the high octane and socially-on-point take of the Gospel classic ‘This Little Light Of Mine’ by the Gospel Ambassadors to drum break funk of the Wearyland Singers ‘If You See Me Doing Wrong” to the sublime soulfulness of Zella Jackson’s “Days Are Just Like People." Without a doubt though, all of the artists included in this compilation, believed in themselves, the message, and the direction of the Gospel Funk intensity you hear within these grooves. Gettin’ on the Good Foot for God? Listen and decide for yourselves!
American glam metal band Warrant released their second studio album Cherry Pie in 1990, which became their best-known and highest-selling release. It peaked at #7 on the Billboard 200 and featured two hit singles, “Cherry Pie” and “I Saw Red”. The title track contains a guitar solo performed by Poison’s guitarist C.C. DeVille. The album features more guest performers, including Dio’s Scott Warren, Bruno Ravel and Steve West from Danger Danger. Besides well-known guest performers, the album was produced by Beau Hill (Alice Cooper, Europe) and mastered by Grammy Award winner Ted Jensen, who also mastered the Eagles’ Hotel California and Norah Jones’ Come Away With Me.
Cherry Pie is available as a limited edition of 3000 Individually numbered copies on cherry coloured vinyl and includes an insert.
GIMP FIST feiern ihr 20jähriges Bestehen und hier ist ihr Geburtstagsgeschenk: seit über 10 Jahren ausverkauft, sind jetzt die Alben #2, #3, und #4 als spezielle Sammler-Editionen wieder erhältlich: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" enthalten jetzt jeweils einen zusätzlichen, seltenen Bonustrack und kommen als 180gr farbiges Splatter-Vinyl! Jede farbige Ausgabe ist auf nur 233 Exemplare limitiert! Mit Zweitling "Your Time Has Come" (2008) machten sich Gimp Fist schnell einen Namen in der weltweiten Punk- und Skinhead-Szene. Ihr auf den Punkt gebrachtes Songwriting, kombiniert mit energiegeladenen, melodischen Street-Punk-Hymnen, sprach für sich selbst und traf den Nerv der Zeit. Songs wie ,Skindeep", das Clash-eske ,More War Stories" und ,Whatever Happened" gelten zu Recht als Meilensteine des britischen Punkrock im neuen Jahrtausend. Alles Gute zum 20. Geburtstag Jonny, Mike & Chris, Happy Birthday Gimp Fist!!! GIMP FIST celebrating their 20th anniverary and here's their birthday present: sold out for over 10 years here are the first three (official) releases available again as special collector's editions: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" each include a rare bonus track now, and come as 180gr colorued splatter vinyl! Each coloured edition is limited to only 233 copies! With their 2008 album, "Your Time Has Come," Gimp Fist quickly made a name for themselves in the punk and skinhead scene worldwide. Their to-the-point songwriting combined with energetic, melodic street punk anthems spoke for itself and hit the spot. Songs like "Skindeep," the Clash-esque "More War Stories," and "Whatever Happened" are rightly considered milestones of UK punk rock in the new millennium. Happy 20th birthday Jonny, Mike & Chris, Happy Birthday Gimp Fist!!!
Over the course of The Slackers' nearly 35-year career, the NYC legends have paid respect to numerous interconnected genres of Jamaican music, including ska, reggae, and rocksteady. Dub mixing - a process of creating new "versions" of songs that emphasize the rhythm section and heavy utilization of atmospheric effects such as delay and reverb - looms so large as a driving force in that world, it is no wonder that the band would approach it with the same mix of reverence and creativity. "Dub is the other side of The Slackers," says the band's guitarist, Agent Jay. "A contrast to the uptempo danceable wit of our ska." The Dub Classics LP - originally released (and sold out) in 2021 and now available from Pirates Press Records - represents a collection of some of the greatest fruits of that labour. More than just a "re-mix" album, it is an essential part of the band's catalog that reinvents their sound and reveals all new perspectives on their many talents.
Black Vinyl[26,01 €]
Black Vinyl[17,23 €]
Remasterte 15-Jahres-Jubiläumsedition des 2008er Studioalbums »The Sparrow And The Crow« von US-Singer / Songwriter William Fitzsimmons, mit dem ihm der Durchbruch gelang (u. a. iTunes US Best Singer / Songwriter Album 2008). Erweitert um die Vinylerstveröffentlichung der »Derivates« EP (2010) mit 7 elektroakustischen Bearbeitungen von »The Sparrow And The Crow« Albumtracks sowie dem Kate-Perry-Cover »I Kissed A Girl«. Farbiges (Crystal Clear & Yellow) Doppelvinyl im Gatefold.
Recorded at the legendary Atlantis Studio in Stockholm, Words Were Coming Out Our Ears captures a unique musical encounter in the moment. Pianist Johan Graden, bassists Vilhelm Bromander and Pär Ola Landin, and drummer Nils Agnas entered the studio without a fixed plan – the music emerged organically through improvisation and attentive interplay.
What sets this album apart is the instrumentation. With two double bass players, the music gains an unusual depth and weight, where the bass not only supports the harmony but also takes on melodic and textural roles. This is no traditional piano trio – rather, it's an ensemble where roles shift constantly, and the sonic landscape is shaped by sensitivity and openness.
One track features additional layers of sound with guest musicians Katarina Agnas on contrabassoon and Emil Strandberg on trumpet.
With Words Were Coming Out Our Ears, the ambition is to create a cohesive sonic identity – to allow each piece to take its own shape while still belonging to a unified whole. The music invites deep listening, guided by intuition and presence in the moment.
Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe
Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.
Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.
Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.
Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.
“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.
Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.
Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.
Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.
Bob Marley & The Wailers' Rastaman Vibration Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM 2LP Ultra High Quality Record release limited to 4,500 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed on 180-gram at Quality Record Pressings using Clarity Vinyl® Includes "12 x 12" 8-page booklet featuring new liner notes by musician and Marley biographer Leroy Jodie Pierson (APO Records Direct-To-Disc AAPO 005), plus exclusive photos by Kim-Gottlieb Walker Purest possible pressing and most visually stunning presentation and packaging!
When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars. Despite the good cheer of the title track and the upbeat "Roots, Rock, Reggae," Rastaman Vibration contains some of Marley's most intense images of oppression, paranoia and despair. Tracks such as "Who the Cap Fit," "Crazy Baldhead" and "War" are offered by the Wailers with dire urgency as Marley's brutal visions are echoed by his own church choir, the I-Threes.
More than four decades later, neither Marley's music nor his message has lost its sting. Now, Analogue Productions presents perfection — Rastaman Vibration cut at 45 RPM in UHQR format on 180-gram 2LP Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.
At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Of the material on Rastaman Vibration, "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race,""'Crazy Baldhead," and "Want More."
These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" seems like an obvious choice for a single and remains underrated. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center.
Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. In addition to the UHQR booklet the package will contain a 8-page 12" x 12" booklet containing new liner notes by musican and Marley biographer Leroy Jodie Pierson as well as exclusive photos by Kim-Gottlieb Walker. Pierson is a past performer for Blues Masters at the Crossroads, the two-night historic blues festival at Blue Heaven Studios in Salina, Kansas. He's also recorded a Direct-To-Disc blues album for APO Records. (AAPO 005) Rastaman Vibration — now a landmark production on 180-gram 45 RPM Analogue Productions UHQR Clarity Vinyl!
Folk-Musik hat die schlechte Angewohnheit, als eine todernste Angelegenheit dargestellt zu werden. Sie ist etwas, zu dem man weint, sie ist übermäßig heilig, sie ist feierlich von Kritikern und Historikern betrachtet. Aber das Folk Bitch Trio, die ehemaligen Highschool-Freundinnen Heide Peverelle (,they/them"), Jeanie Pilkington (,she/her") und Gracie Sinclair (,she/her"), haben einen gemeinsamen Sinn für Humor , der tief in ihre Musik eingebettet ist und sie zum Leuchten bringt, sicher vor den selbsternsten Fallen des Genres. Now Would Be A Good Time, ihr Debütalbum, erzählt lebendige, viszerale Geschichten und ist witzig und dunkel-ironisch in der Art von Schriftstellerinnen wie Mary Gaitskill oder Otessa Moshfegh. Ihre Musik klingt vertraut, aber die Songs sind modern, jugendlich, singen akut durch dissoziative Tagträume und ärgerliche Trennungen, sexuelle Fantasien und Medienüberflutung, all die belanglosen Ressentiments und kleinen Demütigungen, die Anfang zwanzig in den 2020ern sind. ,Cathode Ray" beginnt mit Vorsicht, seine ersten Harmonien kommen in großen, schleifenden Seufzern an. Es ist verletzlich, aber auch ein wenig bedrohlich, mit , einem weit offenen Refrain und einem geräumigen, luftigen Beat, der alles verankert. ,Moth Song", ein Song über unerwiderte Liebe und ,von so durchgedreht zu sein, dass man sich wie im Wahn fühlt und verrückte Dinge halluziniert", bildet das sparsame Herzstück des Albums, wobei Anita Clarks wogende Geigenstimme wie in einem Traum in den Fokus hinein- und wieder herausdriftet. Andere Songs sind nicht so schräg, sondern schildern brutal vertraute Momente am Ende von Beziehungen: Der spannungsgeladene, emotional flüchtige Torch-Song ,The Actor" handelt laut Peverelle davon, ,zur One-Woman-Show deines Partners zu gehen und dann Schluss zu machen". In ,Hotel TV", einer hypnotischen, nächtlichen Träumerei, geht es darum, ,einen Sextraum über zu haben, während man neben seinem Partner sitzt, und der Partner ist ein Lügner", erklärt Pilkington. Die stärkste Verbindung zwischen dem Trio, abgesehen von der Freundschaft, ist Musik. ,Wir haben alle darüber gesprochen, dass wir Musik liebten, als wir aufwuchsen, , und dass wir wussten, dass Musik ein großer Teil unseres Lebens sein sollte", sagt Pilkington. Dieses Gefühl, dass Musik eine angeborene Berufung ist, im Gegensatz zu Hobby oder Torheit, war berechtigt: Das Folk Bitch Trio tourte bereits auf durch Australien, Europa und die USA und unterstützte dabei so unterschiedliche Bands wie King Gizzard, Alex G und Julia Jacklin. Sie haben bei Jagjaguwar unterschrieben, einer Heimat für einzigartige Ikonen und Ikonoklasten (Bon Iver, Angel Olsen, Sharon Van Etten, UMO und andere), und sie haben ihre ersten eingefleischten Fans mit schillernden Harmonien und bissiger Lyrik gefunden, die über Genreerwartungen und Publikumsgrenzen hinausgehen. Das sind die Herausforderungen: Es geht darum zu lernen, wie man ein Leben ohne Liebeskummer und Verlierer-Ex lebt, wann man im zeitgenössischen Nihilismus versinkt und wann man mit seinen Freunden lacht, und warum sich das Leben so flüchtig und unwirklich anfühlen kann. In diesem Sinne fühlt sich Now Would Be A Good Time wie ein Handbuch für das moderne Leben an: eine Botschaft dreier stolzer Folk Bitches, die gemeinsam Schönheit und Weisheit finden, wo sie können.
