Buscar:no thing

For nearly twenty years, Dirty Heads have been mixing hip-hop, reggae and rock to create a unique sound that both fully embodies their Huntington Beach, California roots and resonates with audiences around the globe. Having gone viral on TikTok with their hit song, 'Vacation', which has over 6 billion streams and views on the platform, Dirty Heads has amassed over 3.5 million monthly listeners on Spotify. Their highly anticipated new album 'Midnight Control' features 11 new songs that include their take on Joe Walsh’s 1978 hit 'Life’s Been Good', 'Rescue Me' and 'Island Glow'. The band’s 8th studio album, it is sure to reaffirm their outstanding track record with all seven of their albums having appeared in the Top 10 of Billboard’s Top Independent Albums Charts & Billboard’s Top Alternative Albums Charts.

Black & White Splatter Vinyl

To celebrate the 30 year anniversary of Shakespears Sister’s seminal album ‘Hormonally Yours’,London Records have announced special edition releases across multiple formats.
A double platinum and top 3 UK album ‘Hormonally Yours’ secured Siobhan Fahey and Marcella Detroit a place in British pop history, spawning the single Stay - which spent a staggering eight consecutive weeks at the top of the UK charts - and winning the duo an Ivor Novello Award for Outstanding Contemporary Song Collection.
‘Hormonally Yours’ also features singles ‘Goodbye Cruel World’ and ‘I Don’t Care’, tackles friendships gone wrong on ‘My Sixteenth Apology’, powerful, dangerous attraction on ‘Emotional Thing’ and documents a friend’s coming out on ‘Are We In Love Yet?’ Fan favourite ‘The Trouble With Andre’, the full-throttle glam-blues of ‘Cat Woman and glorious finale ‘Hello (Turn Your Radio On) is the album’s glorious finale: an exhalation; a glorious, earth-shuddering moment that recalls the epic melancholy of David Bowie’s ‘Five Years’ and The Beatles’ ‘A Day In The Life’.
Shakespears Sisters second LP, Hormonally Yours, provided the perfect encapsulation of Shakespears Sister’s musical ying and yang; a deftly delivered balance of pop melody with a spikey alternative darkness

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

AOTN proudly present a new solo outing from long time friend & contributor to Athens of the North, Other Lands aka Gavin L.Sutherland.

Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat.

Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing.

What we've ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."

We say: Panoramic proto-techno underwater-electro library dynamite.

One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.

As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.

The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.

The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.

As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

Brooklyn band Office Culture is made up of four longtime collaborators
(and all solo artists in their own right) lead singer and songwriter Winston
Cook-Wilson (vocals/keyboards), Ian Wayne (guitar), Charlie Kaplan
(bass), and Pat Kelly (drums)
Following the electronic avant-pop experimentation of their debut album I Did the
Best I Could, the band's critically acclaimed sophomore LP "2019's A Life of
Crime "unveiled a lush, jazz- inflected sound that Pitchfork described as "sleek
music for a cursed place, opulent like a ritzy hotel lounge." Cook-Wilson's wry and
contemplative songs reflect the bandmates' shared points of musical reference,
including Nite- Flights- era Scott Walker, mid- 70s Joni Mitchell, Curtis Mayfield,
and ECM-label jazz. The FADER wrote: "Office Culture spends the best moments
on A Life Of Crime sounding like the most vital lounge-pop act of all time. Big
Time Things "the band's third album and Northern Spy debut "is a more
maximalist affair. Written and recorded across the course of three years, it's a
meticulously orchestrated and groove- forward record featuring nine of CookWilson's most ambitious compositions to date. Tracks like singles Elegance, Big
Time Things, and Little Reminders draw together a disparate collection of
influences, integrating soulful vocal harmonies, horns straight out of 70s spiritual
jazz, string arrangements informed by modernist classical music, and beats that
reflect the band's enduring love of neo-soul and hip-hop.
The playful experimentation of the arrangements elevates the melodrama and
humor of Cook-Wilson's songs "his most emotionally direct to date "which trace
the complexities of our efforts to better ourselves by learning from our worst and
least rational behavior, and how we attempt to apply that knowledge to nurturing
close personal relationships. The record features a dense cast of supporting
players, including Carmen Q. Rothwell, Caitlin Pasko, Alena Spanger (Tiny
Hazard), and members of Cuddle Magic / Mmeadows. The album releases via
Northern Spy.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Containing the Top 10 single L.I.F.E.G.O.E.S.O.N., Last Night On Earth was partially
recorded in LA with producer Jason Lader. On its release in 2011, Fink spoke of
capturing "that excitement of being young and being in the night," and being
influenced by Bruce Springsteen. That can be heard on Wild Thing, which blends
Springsteen and Lou Reed into something that is unmistakeably the group's own.
The Telegraph called it "Heartfelt, spirited, lyrical, moody and mostly magnificent
pop rock."
This re- issue faithfully recreates the original 2011 Mercury Records UK release
and is pressed onto high quality 180g vinyl. Also includes the original's bonus 7"
single featuring demo versions of Tonight's The Kind Of Night and Wild Thing.
...

Limited Edition LP re-press on White Vinyl. At the core of Death Valley Girls, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel a modern spin on Funhouse’s sonic exorcisms, ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. On their third album Darkness Rains, Death Valley Girls churn out the hypercharged scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy. Album opener “More Dead” is a rousing wake up call, with a hypnotic guitar riff and an intoxicating blown-out solo underscoring Bloomgarden’s proclamation that you’re “more dead than alive.” The pace builds with “(One Less Thing) Before I Die”, a distillate of Detroit’s proto-punk sound. At track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a rager that takes the most boisterous moments off Exile On Main Street and injects it with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars.” “Death Valley Girls are a gift to the world.” - Iggy Pop

Tracklisting 1. More Dead 2. (One Less Thing) Before I Die 3. Disaster (Is What We’re After) 4. Unzip Your Forehead 5. Wear Black 6. Abre Camino 7. Born Again and Again 8. Street Justice 9. Occupation: Ghost Writer 10. TV in Jail on Mars

San Francisco band touches upon black metal, blues, ambient and more. Of all things, it’s laughter that pervades Mamaleek’s Diner Coffee, the San Francisco metal deconstructionists’ sonically crushing ode to the humor found within catastrophe, American diners, and “the little things.” Featuring a mix of live performances, samples, and field recordings, Diner Coffee laughs through its harsh songs in an attempt to reflect the camaraderie found at the heart of global calamities and changing personal situations. It’s an homage to the quotidian set to the backdrop of the mythologized, sanctuary-like properties of a diner, reveling in irony-less nostalgia. Mamaleek embodies this ethos on and off the record. Originally two anonymous brothers, the past few years have seen Mamaleek adding members and venturing into live performance. Diner Coffee, following in the footsteps of 2020’s Come & See, features new, unfamiliar, unknown voices—including expanded experiments with horns, woodwinds, and strings and a Bay Area-local blues harmonica player who improvised recorded selections during practices. The resulting tracks touch on signifiers from black metal, blues, ambient, and more. Diner Coffee simultaneously represents the band’s artistic progression and the state of the world. Taking a surprisingly optimistic perspective, Mamaleek once again puts forward a project of left-field, wholly unique compositions, eluding easy categorization and furthering their abstraction of genre. “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” Forbes //

Tracklist 1 Libations to Sacred Clowns 2 Boiler Room 3 Badtimers 4 Save Your Poor Wicked Soul 5 Grief and a Headhunter's Rage 6 Wharf Rats in the Moonlight 7 Diner Coffee

New one by Montreal singer-songwriter Deb Edison, working once again as The Submissives and willfully unchanged from 2016's Do You Really Love Me? cassette (Fixture). Six years into the most tumultuous period in global history since WWII – a pandemic, right-wing infiltration, attempts at government overthrow, climate catastrophe looming, a near-complete loss of the moral compass, conspiracies lording over facts natural resources running out – and Deb's still here, staring a hole through the floor/your head. "No one ever changes," she coos on "In a Pinch," and these songs are a textbook example of that sentiment, and her artistic embodiment of psychosexual desire, ready to shatter some lives and walk away looking for the next one. "I'm waiting for your signal/I'm several years older," she drones on "Sick Kinda Love," further reinforcing a long-held stance that the obsession, internalization of feelings, and the human power dynamic of The Submissives are on the menu once again. You'll find whatever it is you want to find in here, just dig in. Deb might even be talking about you, though there's a good chance she's not, and if you don't have the goods you can be sure she's gonna be doing all she can to passively drive you away. "Chirp Like a Bird" reads as Deb's bottom-looking-up retort to Whitehouse's "Wriggle Like a Fucking Eel," and might even be more severe, because she doesn't need microphonic feedback and screaming to intimidate. If you're in for surface thrills, scrape up the Shaggs-esque rock stumble, swooping viola, and behind-the-beat bash tapping out each of these eleven tracks. This is how it is; you get what you get, and you might be upset, but that's all on you. You'll never get to the bottom of this sketch. TRACKLIST: A1 Wanna be your thing A2 When it was all new A3 In a pinch A4 Sick kinda love A5 Chirp like a bird A6 I'm a mirror B1 Goodbye Betty B2 Four five B3 Isn't you B4 Think of me B5 Sweetly

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

Limited Clear Grey Vinyl 7". For Fans Of… Piero Umiliani, Amedeo Tommasi, Dorothy Ashby, Sandro Brugnolini, El Michels Affair, Sven Wunder. Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960’s, Salvator creates his own unique mood that’s equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Tracks 1. Mind On Madrid 2. A Return To Normal

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

A collection of powerful songs from across the Trojan catalogue, calling for unity and solidarity.

Trojan Records played a pivotal role in bringing Jamaican music to the UK and Europe; not only did it provide comfort and a sense of home for the Caribbean community living in the UK, but it also became an outlet for many thousands of white, working class youths, drawn to the exciting new sounds of reggae. This in turn created a new youth subculture within the UK.

Trojan became more than a music label, it also brought people together through culture, style and fashion. For the first time, people of all races and creeds would unite in the dancehalls, and friendships blossomed because people shared a common love for one thing - the music.

This collection of songs communicates an intergenerational, international story that, on the one hand, elucidates the black experience; on the other, repeats the call for us all to come together in unity.

SUBPLATES - THE ICONIC SUBURBAN BASE SERIES RETURNS

Forthcoming on Subbase Progression is the all new SUBPLATES Vol 6 EP. The iconic series of releases from the first wave of SubBase now sees a brand new 4 track EP dropping soon as a stunning picture disc.

Way back in 1993, Suburban Base Records launched the Sub Plates series, a homage to the dubplate culture of early jungle music, it was even released in the 10” vinyl format to reflect the acetate plates DJ’s were playing.

Now in 2022 the way we consume music has evolved, DJ’s are no longer playing the 10” dubs, and the average vinyl buyer is a collector and connoisseur of great music. This iteration of the Subplates series reflects this change. Aimed squarely at the vinyl collectors Subplates Vol 6 is presented as a stunning double-sided picture disc.

Incredible art direction has long been a hallmark of Suburban Base and this release definitely delivers with one of the most stunning looking releases ever from the label. Instantly recognisable as SubBase with the cool graffiti/street art style mural and including the labels original & iconic SB logo within the design.

There’s more to this release than just an eye-catching design though… Imprinted into the grooves of this collectible limited edition vinyl are 4 brand new tracks from some of the labels most recognised artists!

Marvellous Cain, Dead Dread, Cool Hand Flex, Badman& D.B.H each bring a track to this new format Sub Plates release. Original jungle vibes & flavours bought bang up to date for 2022…
Sweet Ting by Marvellous Cain is currently getting radio support from Rampage on BBC Radio 1, Heartless Crew on BBC 1Xtra, and international club support from Brazilian turntable wizard DJ Marky.

The Independent - 5 star Glastonbury set review “Making their Glastonbury review, IOW collective Plastic Mermaids are a joy to behold at the Croissant-Neuf stage.” New single 'Girl Boy Girl' Girl Boy Girl is an uncomfortable place, an unspoken awkwardness and tension. Always convoluting, never resolving. Just like this perpetual frustration when a relationship isn’t right but none has the language or understanding to fix it. And then thinking that adding a 3rd party to the mix is going to solve the problems…oh dear. We took some inspiration from the song ‘Night Call’ on the Drive soundtrack and also some of the slower Daft Punk tunes. Kinda wanted it to feel like something you’d stick on cruising in your car after dark in the 80’s. It has been two years since Plastic Mermaids released their critically acclaimed debut ‘Suddenly Everyone Explodes’, and now they return to spread some eagerly awaited blissed out joy with new single Disco Wings & b side Environmental with their second album due next year. The band have been working hard in the studio teaming up with producer Ant Whiting, who has worked with the likes of MIA, John Newman and Lana De Ray, in what proved to be an exciting mix of creative ideas.

CITY OF CATERPILLAR return with their first new album in 20 years, Mystic Sisters! When guitarist/vocalist Brandon Evans, guitarist Jeff Kane, drummer Ryan Parrish and bassist/vocalist Kevin Longendyke unveiled their self-titled debut in 2002, their emotional, frenzied and often cinematic music was at the vanguard of the burgeoning screamo movement. Along with bands like Pg.99 (with whom they shared members), Majority Rule, Planes Mistaken For Stars and others, they helped develop a style of music that took hardcore into convulsive new territory. After years spent living in other parts of the country and playing in other bands—including Darkest Hour, Malady and Ghastly City Sleep, the long awaited CITY OF CATERPILLAR reunion shows snowballed into writing sessions. The result - Mystic Sisters, an album that recaptures the magic of old while taking the band’s music into exciting new territory! The winding and atmospheric title track that embodies CITY OF CATERPILLAR's experimental side features some noise violin from Evans’ former Pg. 99 bandmate Johnny Ward, while tracks like "Decider" and "Paranormaladies" showcases the band's roots with a flurry of viceral, noisey hardcore swagger. Tracked primarily at Montrose Recording in Richmond, Mystic Sisters was self-produced by the band and then mixed and mastered by Jack Shirley (Deafheaven, Bosse-de-Nage). Ultimately, CITY OF CATERPILLAR are more concerned with creating a mood than telling a story. “The band is always focused on mood,” Evans confirms. “To me, that’s the most important thing. I don’t really want people dissecting what we’re trying to say, because it’s not really about us. It never has been. What we cared about 20 years ago was innocent, raw emotion, and that’s what we care about now.”

Master’s second album recorded by Scott Burns at Morrissound Studios! Classic 1990’s Death Metal! One of the problems with looking back on a musical genre from a perspective years or decades removed from the core of the movement itself is that subsequent developments tend to obscure both a genres origins and threads within a tradition that died out without offspring. As a result, interesting and deserving albums often get lost in the shuffle as reviewers reflect on those albums most “influential” upon later achievements. Death metal pioneers Master are among those who have been shortchanged as a result of that phenomenon, and their 1990 masterpiece “On the Seventh Day, God Created... Master” remains a fascinating exploration both of the genre’s roots and of spaces it might have occupied had different paths been taken. There are a couple of things that leap out immediately to even the casual listener. The first is the seeming primitivism of the music, with songs consisting of relatively brief, bludgeoning pieces driven by relentless rhythms, cyclic riffs and simple melodic hooks. The second is the realization that someone is playing some seriously insane, brilliantly constructed leads. In this case, that someone is Paul Masvidal, far exceeding anything he ever achieved with Cynic. Beneath the surface simplicity, lies a creative spirit that at once recalls the primal birth of death metal (which Master was both present for and very much a driving force behind) and points the way to what the genre might have become. Very apparent are the genre’s hardcore roots, Master here eschewing the Slayer-derived technical architecture that came to dominate most “modern” death metal in favor of structures that would not have been out of place on Discharge’s landmark “Hear Nothing See Nothing Say Nothing” release (there are even a few appearances of the infamous D-beat). Within the unrelenting storm of brutal repetition, the music’s core meaning is encoded, a sheer primal rage dripping from thunderous cycles of power chords and the open throated roar (again the hardcore influence) of vocalist and chief songwriter Paul Speckman.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

Canada's Preoccupations return to the post-punk, post-pandemic world
with Arrangements - Their 4th studio album finds them restoring their
roots with the singular, guitar driven, dissonant yet anthemic washes of
intricate noise that has brought them international acclaim since their
basement beginnings
For lovers of all things Bowie, Branca, Spacemen 3 and MBV, progressive punk,
jangle rock and mangled goth. Arrangements sees Preoccupations finally and
confidently inhabiting the dystopia that they have been carefully creating from
their musical genesis. They are in a room with taped up windows, except for a
tiny pinprick of light beaming from the otherworld onto the far wall, upside down
and blurred, it's recognizable enough to fill you with warm familiarity and
nostalgia of unknown origins.

The much-demanded reissue of oud player and composer Rabih AbouKhalil's iconic 1992 album 'Blue Camel', featuring trumpeter Kenny
Wheeler, saxophonist Charlie Mariano, bassist Steve Swallow and
percussionists Ramesh Shotham and Milton Cardona
Kurt Keefner stated "Blue Camel is the pinnacle to date of Lebanese oud player
Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can
almost be characterized as a new Kind of Blue. Both tense and reflective, it is
perfect for listening after midnight ... Blue Camel may not be a perfect album, but
it demonstrates better than any other that a fusion between jazz and a musical
form from another culture is possible and can work to the advantage of both.
Plus, it's just great listening".
Metal Reviews said: "The album glories in crafting a successful blend of Arabian
music and jazz: a very homogeneous and enjoyable fusion with enough shift in
mood and method to keep things interesting".

(Cargo Collective Title) RIYL: Barker, burger/ink, Andy Stott, Shackleton, Monolake, Jan Jelinek, Perila, Fax. 180gLP in 350gsm jacket + 190gsm inner + DL. CD in custom mini-gatefold paperboard jacket. T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation’s Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video1capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative—though still spartan—layers of performance. “Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms” notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy’s sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese ‘forest bathing’), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus. Tracklist: 1 350J 2 Miracles 3 Déneigeuse 4 Transcend I 5 U4A 6 Vidisions 7 Clipse 8 Transcend II

'Ella & Louis Again' pressed on limited edition 180g premium vinyl for
super fidelity and presented in a deluxe gatefold sleeve
This was the second album pairing Ella Fitzgerald and Louis Armstrong produced
by Norman Granz for his Verve label. After recording a series of duets in the late
1940s for Decca, Ella and Louis were invited by Granz in 1956 to make a series of
sessions which would result in the memorable 'Ella and Louis'. Such was the
commercial success of the LP, the formula was repeated the following year with
the making of 'Ella and Louis Again'. Like its predecessor, it received both critical
acclaim and commercial success.

To wit, if you think you know already what you’ll be getting into here heady, Television-esque multi-guitar jams played with motorik precision and a fiercely American intensity: you know, a Forsyth record well, go ahead and think that. I won’t stop you. Only . . . maybe the pulsing bass, curiously lurching drumbeat, and lunar synth squiggling of Sun Ra Arkestra maestro Marshall Allen that opens “Experimental & Professional” will set you back on your heels. But just for a moment, before Ryan Jewell’s drums and Tortoise alum Douglas McCombs’s bass twine into perfect alignment and then guitars played by Forsyth and Tom Malach (of Garcia Peoples) start chipping and hammering, twittering and sparring, the whole thing managing to evoke Remain in Light without sounding remotely like it.

Tracks : 1 Experimental & Professional 2 Heaven For A Few 3 Bad Moon Risen 4 You're Going To Need Somebody 5 Hey, Evolution 6 Long Beach Idyll 7 Robot Energy Machine

12” black vinyl, lyrics insert, edition of 250. Let’s Whisper started many moons ago as a home recording project between Colin Clary and Dana Kaplan, during time off from their other outfit, The Smittens. Since then, the line up of the Vermont outfit has expanded, and now includes Brad Searles, The Essex Green’s Jeff Baron and Emma Kupa of Mammoth Penguins/Standard Fare. In addtion, Jeff’s bandmate from The Ladybug Transistor, Gary Olson, produced, engineered, plays trumpet and sings on the record. The In-Between Times is a leap forward for Let’s Whisper, taking the lush orchestration familiar to fans of The Essex Green and Ladybug Transistor. It’s a tender, brave, and earnest album, exploring grief, gender, and goodbyes. The times between pronounced transitions: life and death, pre- to post-testosterone, the storm to the calm after. Tracklist: A1) You Are Loved A2) The Thing That Defines You A3) Sing! A4) Simple Times A5) Hey You A6) This Might Not Be A Crush A7) 40 Ways To Love You B1) Balloon In The Sky B2) Long Run B3) I Don’t Know What I Would Do Without You B4) Hey There B5) When We Were Young B6) The Year Of Getting High

In 2020 Starry Skies released their third album "Do It With Love", 36
minutes filled with great storytelling and harmonies that are all centered
around the very thing that defines our core as humans - love - But not
only in a romantic way, the songs celebrate friendship and everything we
love as human beings
"Do it with Love" is the perfect title, because you can hear the love and joy that the
band poured into creating this album in every note played and sung. Now you
might argue that the album filled with too much love to bear, to which I would
reply with "there can never be too much love". So put on your headphones, close
your eyes and let this uplifting piece of music make your day a little brighter. -

'WALKING ON A FLASHLIGHT BEAM' IS REISSUED FOR THE FIRST TIME
ON BLUE VINYL."It's often like the best film music..
distinctly dramatic, verging on gothic from the opening eerie noises... honours the
Pink Floyd branches of the Porcupine Tree" - Prog Magazine (UK)
Lunatic Soul is the solo project from Mariusz Duda, the creative force, lead singer
& talented multi-instrumentalist behind Poland's Progressive Rock shooting stars
'Riverside'.
'Walking On A Flashlight Beam' was the fourth album from Lunatic Soul. It served
as an incredibly emotional prequel to the first two Lunatic Soul albums & covers a
theme of self- imposed solitude & has a strong sense of foreboding with the
knowledge that the first two albums focus on death & the afterlife.
Commenting on his fourth opus in 2014, Duda said: "These are very dark &
intense compositions but very melodious too. I think it's one of the best things
I've ever written, if not the best one".
As with previous Lunatic Soul albums the artwork was created by the renowned
cover artist Travis Smith who has also created covers for the likes of 'Opeth' &
'Riverside'.
Lunatic Soul's 'Walking On A Flashlight Beam' will be issued via Kscope on 2LP
Blue Vinyl.

Musician and sound/video installation artist Steve Batespresents a solo ambient/noise album ofmelodic smear, radiostatic blur, panoramic noise clouds and dissolving tones. Made primarilyunder the self-imposed 'limitation' of a Casio SK-1, this is his first entirely solo full-length albumin almost a decade. All The Things That Happen showcases the more deliberate, intensive, noise-clustered side of Bates' wide-ranging sonic sensibilities and practices. An isolation record (like so many), itcombines an ineffable melancholy with claustrophobictension and simmering political rage.Powerfully composed from layers of glistening distortion-drenched melody, pulsing and droningoscillation, bursts of blown-out chords, sweeps of static and sheets of crackling hiss, Bates hasmade an impressively dynamic, ardent and iridescent noise album of real depth and underlyingdevastation."This was supposed to be an ambient record; quiet, minimal and sad. These tracks all startedoff that way but I kept reaching for more texture and noise. Somehow the noisier the record got,the less sad it was also. I was listening to, and loving, a lot of music by Andrew Chalk and I hadfinished a year-long run of listening to Eno's 1 and 4. I preferOn LandtoMusic for Airportsalthough I love both.On Landjust has a darkness and uncertainty that appeals to me. Addingmore noise also got me excited about ways this material could be played live even though italso felt like that could never happen again.In 2022, I opened for Godspeed You! BlackEmperor in Saskatoon to give it a try and waspleasantly pleased to hear it all live and loud."A fixture of Winnipeg's burgeoning punk and social justice community in the 80s-90s, Batesplayed in hardcore and indie rock bands (Pull My Daisy, Bulletproof Nothing) prior to foundingthe Send + Receivefestival in 1998. A crucial development in putting Winnipeg on the map foravant music and sound art, Bates helmed Send + Receive for seven years, then moved toTiohti:áke/Montréal, became Sound Coordinator at Hexagram (Concordia University), releasedsolowork on Oral and two albums with his Black Seas Ensemble on Dim Coast, and pursuedmyriad other ongoing audio research, installation and collaborative projects. Relocating toTreaty 6/Saskatoon the year before pandemic,All The Things That Happenis Bates' mostrecent purposive and purely 'recorded' work.Thanks for listening.

The Music Legend, the collection presenting the history of modern music, is back with a nice gatefold vinyl presenting no other than John Coltrane - the American jazz saxophonist and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

El Goodo guitarist and songwriter 'Pixy Jones' has announced that his debut album entitled 'Bits n Bobs' is due for release on 16th of September via Strangetown Records. 
After 4 albums with El Goodo, Welsh psych scene stalwart Pixy Jones has himself compiled a truly remarkable collection of tracks that fluctuate from 60's harmony-rich psych pop, to Alt-Country with ringing tremelo guitar. 

The swaggering 'I'm Not There' is the first single to be taken from 'Bits n Bobs' accompanied by a magical version of Beatles track 'And Your Bird Can Sing' as it's B SIde, which will be released digitally on Friday 1st of July.

Pixy had this to say about the release: 
The album was originally intended as a solo project under the pseudonym of “Wallace Russell”. I recorded it alongside the recording of Zombie (El Goodo) whenever I could get in the studio. There are some really old songs that have always been overlooked for 'El Goodo' albums for one reason or another, a few new ones which I wrote specifically for this, and a couple that would have probably ended up on the intended double album version of Zombie if we’d kept going with the double album idea. I’ve since ditched the 'Wallace Russell' name and gone back to 'Pixy Jones' as I figured there’s no need to have a pseudonym if nobody knows who you are in the first place. Even though I dropped the name I’ve kept the walrus mask for now as it is more photogenic than my actual face.
I had no recording budget so I had to fund it by quitting smoking and saving the money up to pay for studio time. It took, I think, two and a half years to record, which is by far the quickest I’ve ever recorded an album.

Originally I wanted it to just be a quickly recorded slap dash and get it out sort of thing but I had a year and a half during Covid to think about it a bit more and ended up taking more care to get it done properly. It was just me there so I played most of it myself apart from Stephen Black (Sweet Baboo) who played brass and woodwind on one song and Rhodri Brooks (AhGeeBe) plays some pedal steel on a couple. 

Elliott and Canny from 'El Goodo' played drums and bass on Wind Street during the ‘Zombie’ recording sessions. 

The album was recorded and mixed in Aerial Studios with Tim Lewis, (Thighpaulsandra), a couple of songs were finished in the house during the lockdowns.

Three years after Reno Wurzbacher’s entry into the series, Cook Strummer now offers up his own Berlin Gets Physical, a collection of all-new and exclusive tracks.

Berlin-based, Belgium-born Strummer has been a Get Physical associate for several years. He has dropped various singles including the standout 'Rising' which also featured on the Words Don't Come Easy series, and always crafts the perfect mix of rhythm and melody with plenty of hints of his homeland's famous cold wave sound. He often uses his own voice, drum machines, synths and guitars in his music, and since his debut album in 2018 on LOK Recordings, he has had high profile support from the likes of Laurent Garnier, Adam Port and Ame. This summer, he dropped 'Atmosphere' on Obsolet Records which proved another successful outing and now Berlin Gets Physical finds him digging deep into the famous city's freshest and most essential house sounds across 15 well-sequenced tracks.

His own new offering 'For Berlin' kicks off with a dark and edgy vibe, gothic vocals and tense drums. Glitchy hits and blurting synths add to the prickly atmosphere and immediately lock you in while Los Cabra & Manuel Sahagun's 'Italian Groove' then takes off on waves of serrated dark disco synths and Freudenthal feat. Nowhere People continue that macho disco vibe with the rugged chug and cosmic rays of 'Cipher.'

The twinkling 'Bad Karma' by Marvin Jam & Le Mythe then allows you to catch your breath with a slower, more spacious dub disco sound and the twanging bass riffs and exotic effects of Daniel Jaeger & Valenti's 'Quarantine Cowboys' rebuilds the atmosphere with some innovative house blues. The mid-section brings brain-frying synth work on 'Out Of The Blue', bubbling dub house and disco courtesy of dramasquad's sprawling 'ziggy' and percussive deep house looseness from 'Abayomi.'

After KEENE's rubbery and rolling Afro sounds comes more cosmic house richness from Dan Buri and Max Joni & MUKKIMIAU, the driving tech of Red Pig Flower & Lulla and heady sounds of Mike Book. There is a raw house heaviness to FreedomB's 'State of Shock' and things shut down with Electronic Elephant's tightly coiled minimal drum funk on 'Ask Yourself'.

This on point collection is an authentic snapshot of the contemporary underground sound of the Berlin.

Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960's, Salvator creates his own unique mood that's equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.