Search:no you

Debut album originally released in 1981 from Austin, TX, punk visionaries, Big Boys, now available on limited edition aqua blue vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Lullabies Help The Brain Grow LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

Die kultige schwedische Hardrock-Band enthüllt erneut ihr musikalisches Können auf ihrem mit Spannung erwarteten 11. Album "Wheel of Illusion". Mit einer langen Geschichte, die bis in die frühen 90er Jahre zurückreicht, hat THE QUILL immer wieder Grenzen überschritten, indem die Band kraftvolle Riffs und gefühlvolle Melodien vermischt hat.

"Wheel of Illusion" verspricht eine klangliche Reise zu werden, die die Entwicklung der Band zeigt und gleichzeitig ihren Hardrock-Wurzeln treu bleibt. Von den donnernden Schlagzeugbeats bis hin zu den brennenden Gitarrensoli ist jeder Track ein Beweis für The Quill's beständiges Engagement, einen rohen und authentischen Sound zu liefern.

Das Album beschäftigt sich mit Themen wie Selbstreflexion, Widerstandsfähigkeit und mit der rätselhaften Natur der Realität. Mit Texten, die nachhallen und Musik, die fesselt, ist "Wheel of Illusion" auf dem besten Weg ein wichtiges Kapitel im musikalischen Vermächtnis von The Quill zu werden.

Während die Band ihre Nische in der internationalen Rockszene weiter ausbaut, bestätigt dieses Album den Status von The Quill als Pioniere der schwedischen Hardrockbewegung. "Wheel of Illusion" ist nicht einfach nur ein Album, sondern ein Beweis für die ungebrochene Leidenschaft von The Quill, Musik zu machen, die die Zeit überdauert und Fans auf der ganzen Welt anspricht.

Tauchen Sie ein in eine harmonische Mischung aus rauen Emotionen und musikalischer Brillanz. 'The Color Purple (Music From and Inspired By)' verspricht ein Hörerlebnis, das zutiefst nostalgisch und erfrischend neu zugleich ist. So trumpft das Album mit einem Ensemble auf, das seinesgleichen sucht - der für den Golden Globe nominierten Fantasia mit ihren gefühlvollen Melodien, Taraji B. Henson mit ihrer emotionalen Tiefe, Colman Domingo mit seiner fesselnden Energie, der für den Golden Globe nominierten Danielle Brooks mit ihrer kraftvollen Resonanz, H.E.R. mit ihrer zeitgenössischen Kunst und Hallie Bailey mit ihrem strahlenden Gesang. Und Musik von den Grammy-prämierten Songwritern des Musicals - Brenda Russell, Allee Willis und Stephen Bray. Doch hört die Magie nicht bei den zeitlosen Klassikern auf.
Tauchen Sie noch tiefer ein und lassen Sie sich verzaubern von einem neuen Kapitel und neuer Musik von Alicia Keys, Jennifer Hudson, Mary J. Blige, Keyshia Cole, Coco Jones, Jorja Smith, Celeste, Mary Mary und October London sowie einer atemberaubenden Kollaboration von USHER & H.E.R.
Von Liebe und Schmerz bis hin zu Widerstandskraft und Erlösung - diese Songs fangen die Essenz von 'The Color Purple' ein und ebnen gleichzeitig den Weg für eine neue musikalische Ära. Und für diejenigen, die einen modernen Twist suchen, gibt es Remixe von Missy Elliot featuring Megan Thee Stallion und Timbaland featuring Black Thought. So schlägt 'The Color Purple' auch eine Brücke zwischen Generationen von Musikliebhabern.

Tha God Fahim has earned his spot at the forefront of hip-hop’s modern underground movement, crafting immersive musical experiences rooted in raw instrumentation and elevated by razor-sharp lyricism. A frequent collaborator of enigmatic rap god Mach-Hommy, Fahim has steadily bolstered his mystique with a wealth of acclaimed releases, embodying the themes of self-empowerment and continual expansion contained in his verses. Two decades after the release of his classic debut "The Disrupt", renowned California artist Oh No has become an undeniable creative force, balancing rap success with production work for Mos Def, Action Bronson, Prodigy, Dilated Peoples, Aesop Rock, Rapsody, Elzhi, and many more. Tha God Fahim recently recruited Oh No to produce the new album "Berserko", and now this stellar collaboration is receiving a vinyl release for the first time ever. The collection finds Fahim in peak form, with Oh No’s hypnotic sonic textures sparking some of the Atlanta emcee’s most complex rhymes to date. With guest appearances by Your Old Droog and Jay NiCE, "Berserko" is a wild ride showcasing the unbridled creativity of two remarkable artists.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics. 2024 welcomes the new 12” on the label with 4 hot and rare gospel disco/funk tunes to uplift your sets and throw people’s hands in the air!

“The Top” is an uplifting and relentless disco roller for incendiary peak times, “Hear my prey” suits the openings with its midtempo funky groove. On the flipside, “Lil Longer” gets deeper and moodier for the most demanding djs out there while “Giving It Up” rounds things up with its lovely boogie vibes.

All tracks have been carefully edited by Andrea Passenger without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors! 12” limited to 300 copies (no digital).

LKEMY is a legendary Italo house producer from the Adriatic Riviera. Active since 1991 when his first 12″ was released, in the 1990s composed and produced several dozen tracks that are now cult favorites among young DJs and collectors of the genre. Now he returns to produce in the same style of the time two tracks that impressed two well-known Italian DJs, one of the old school and one of the new, who wanted to make their own versions. Dj Ralf, one of the most historical, notorious and active DJs in Italy, has remixed “Cloud” for his warm and intense Dj sets around Italy. In “Cloud Detox”, GNMR (Gianmaria Coccoluto) doesn’t approach as just a remixer; rather, he doesn’t distort or eliminate/replace the important parts of the track but transports and renews them in a new musical realm of his own. Where ethnic elements, live-played drums, and intentionally unquantized rhythms give birth to a unique body under the moon of Goa in India. Mysticisms, transcendental worlds, lengthy dances free from others’ judgment, and closer to supernatural contact make Detox a journey towards purification.

Debut release for boRdeR Edits with four groovy disco edits expertly cut by RedRob. Four funky bangers for the most eclectic
dancefloors... You can be sure that no dancer will remain still while the record spins on the turntable!

"Rationalizing our place amongst the Stars is a referendum. A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most, but a lifelong mandate to others. As nature's allowance of time just isn't favorable to an average human lifespan of a 100 years, this task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository.

Neo Tantric Parts is about high premium thought processes about simplicity and oneness. Diagnostic in the way it blends time, rhythm and harmony together as a proposal to consider placement in this moment of time". - Millsart



Footnote translations:

"Rationalizing our place amongst the Stars is a referendum".

The human lineage only diverged from our most recent common ancestor about 5 million years ago; less than half of 1% of that time, and modern Homo sapiens is only between 200,000 and 50,000 years old, depending on your definition. Such vast spans of time are hard for us to comprehend.

"A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most,but a lifelong mandate to others".

The singularity had no dimensions and space and so it stands to reason that it had no dimension in time. In other words, there was no time so there was no such thing as "before". By that reasoning, time itself is the same age as the universe, which is about 13.8 billion years

"As nature's allowance of time just isn't favorable to an average human lifespan of a 85 years"

The world average age of death is a few years lower at 68.9 years for men and 73.9 years for women. Within the European Union, these are 77.7 and 83.3 years respectively.

"This task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository".

A legal arrangement or understanding by which a person or organization looks after money or property for somebody else until that person is old enough to control it.

The title track "Who You Are" has become a dance floor favourite making appearances during Templé's DJ sets opening for the likes of Rick Wilhite, Osunlande, Trus’me, Rahaan, Alkalino, Late Nite Tuff Guy, Hidden Spheres and Harvey Sutherland.

It's the kind of track that can get the party started, keep it going or close it out with its tough verses, 303 acid line, drum machine build up and poppy chorus. It’s so versatile that it’ll never leave your record bag. Staying with side A, the EP's charm is further amplified by Prins Thomas's magical remix of the title track.

This luminary of the electronic music scene adds his Nordic touch in only the way that he knows how. Delicately weaving his disco sensibilities into the fabric of the original track, making the chorus the break down, turning the original track on its head. This one will get you in the feels.

Flipping the record over to the B-side, we encounter "Wait For Love." It's a powerhouse of a track, driven by a rolling acid bass line and a saxophone solo that lands right in the sweet spot, ensuring the party never stops.

The vocals soaked in effects and skilfully sliced and diced, guides the listener's focus making it the perfect tune for those late night dance floor occasions. Then there's "The Tetrah" - a departure from the rest of the EP. It's a deeper and more intricate piece featuring the soulful interplay of saxophone and trumpet throughout. These two instruments seem to tease and tantalise each other, never quite aligning until the final drop. It's a near 9-minute journey and each moment holds your attention.

Frustration sind zurück und schon nach den ersten Takten wissen wir, wo es hin geht. Und obwohl wir uns genau das wünschen, wird wieder ein anderer Weg als zuvor gewählt, angetrieben von einem ursprünglichen Bedürfnis, das so komplex ist, dass sein Ausdruck niemals eine Wiederholung ist. Frustration lehren keine Musikgeschichte, aber das bedeutet nicht, dass sie nicht wissen, woher sie kommen. DIE Born Bad-Band schreit immer noch Postpunk. Für Snobs, die sich auf dem Boden wälzen, wenn auf der falschen Seite des Ärmelkanals Englisch gesungen wird, gibt es diesmal zwei Tracks auf Französisch, "Omerta" und "Consumés", welche daran erinnern, dass Fabrice Gilbert in einer Zwischensprache singt, die das Beste aus beiden Idiomen bewahrt hat. Es ist die perfekte Art, seine bissigen, unverblümten Tiraden zu genießen, die eine Schneise in diese Generation "of apathetic truffles / fantasizing about assholes full of money" schlagen. Außerdem singt Anne von der Rouener Combo Hammershoi auf "Vorbei" in deutsch Sprache, ein seltener Moment des Innehaltens auf dieser sehr intensiven, wütenden, lauten Platte, deren Sound weniger Cold Wave ist als der Vorgänger So Cold Streams. Das rasante Schlagzeug von "Catching Your Eye" erinnert an das fröhliche Dröhnen von "Shades From Fhe Past", einem Instrumentalstück ihres ersten Albums. "Secular Prayer", das das Album abschließt, bestätigt, dass Frustration genauso zur Ian Curtis-Familie gehören wie zur Ian Dury-Familie. Man muss schon aufpassen, sich bei einem solch kreativem Erfolg nicht zu ernst zu nehmen. Single-Vorbote "State Of Alert" fährt die Synthie-Sirenen hoch, nur ein erster energiegeladener Höhepunkt der französichen Frustration 2024.

A limited re-release of the very first single created by Virginia Soul Legend, Van Jones. Originally released in 1974, this release celebrates one of the most soulful, heartfelt recordings pressed onto a 7", the first step in Vans career defining his artistry & expression. The original release remains obscure due to the handful of copies known worldwide, now lovingly restored & released exclusively through Symphonical, in direct collaboration with Van Jones & Erwin Epps.

Mit seinem neuen Album Y'Y (ausgesprochen "eey-eh, eey-eh") betritt Amaro Freitas ein neues Reich des musikalischen Schaffens. Ein Reich, das in Magie und Möglichkeiten verwurzelt ist und von einem Gefühl der Verantwortung für die Gaben der Erde getragen wird. Seite A ist ein Ausdruck der Verbundenheit mit der Erde und den Ahnen, eine Hommage an den Wald und die Flüsse Nordbrasiliens, sowohl mit der Musik als auch mit dem Albumtitel Y'Y, einem Wort aus dem Sateré-Mawé-Dialekt, einem uralten indigenen Code, der Wasser oder Fluss bedeutet. Und indem er die Lektionen, die er im Amazonasgebiet über die glühende Kraft verzauberter Geister gelernt hat, die in Zeiten des Kampfes im Namen der Gemeinschaft eingreifen, zum Leben erweckt. Auf Seite B zeigt Y'Y die Verbindungen zwischen der globalen schwarzen Avant-Jazz-Gemeinschaft. Die Musik des Multiinstrumentalisten Shabaka Hutchings, der Harfenistin Brandee Younger, des Bassisten Aniel Someillan, des Gitarristen Jeff Parker und des Schlagzeugers Hamid Drake schafft eine kunstvolle Konversation, indem sie Jazztraditionen aus der ganzen Welt miteinander verwebt und gleichzeitig in den einzigartigen Klängen und Ritualen afro-brasilianischer und indigener Kulturen verwurzelt bleibt. Auf Y'Y lässt Freitas das Wissen der Vorfahren in die Musik einfließen, indem er seine frische, "dekolonisierte" Interpretation des brasilianischen Jazz einbringt und Musik präsentiert, die vorgefasste Meinungen darüber, was Jazz sein kann, durchaus erschüttern könnte.

2024 Repress

Another episode of the notorious 'You Can Trust A Man With A Moustache Series. Containing 4 crazy electro house energizing nu-italo top hits! A1 The mysterious super hit wanted and sought after by many DJs, played at numerous clubs and festivals by Moustache records label boss David Vunk, the mega anthem by the super collective ; Tending tropic - Hondebrok!!! A2 Cafius the super talented electronic music producer hailing from Ukraine is part of Moustache family now. He Delivered a massive club banger for the dancefloor: Cafius - Tonight is the night. Already played by DJs around the glove! B1 Im Kellar the infamous project by 30 years friends David Spanish and David Vunk ebm electro, dark and pure from the analogue cellars of downtown Rotterdam city, Im Kellar known for their super rare always sold out 12inches. Im Kellar - Not to be compromised dont miss this killer track with that strange melodie ;) B2 Moustache is super pleased to have the boss of Barca on board. Italo moderni label ceo Adrian Marth with his electro house hi energy track: Icon of the night! Expect deep basslines and peaking party drops. You can trust a man with a Moustache Vol. 5 comes in a super great designed 12inch sleeve full colour Artwork. Dont sleep on this ultra rare vinyl super limited only 500 copies no repress! Don't play this record underwater!

Portland based act Dancing Plague has been a steady presence in the dark/cold electronic music scene for quite a few years now.

Since 2016 Conor Knowles’ solo project has been putting out one constant flow of independent releases on multiple formats such as vinyl LPs, EPs, tapes and CDs, creating one sonic palette rich with Ebm, goth, industrial and synth influences.

On their 5th studio album, Dancing Plague continues to flesh out and perfect their unique brand of crushing darkwave.

Elogium explores themes of loss, regret, rebirth and growth coupled with throbbing basslines, rave synths, and pounding drums. Knowles balances aggressive waves of electronics with enough pop sensibilities and catchy hooks to be inviting to those new to the genre.

His skills can be clearly appreciated on tracks like the first single Fading Forms which explores the somber feeling of the years passing you by. Knowles’ emotive baritone crooning paints a melancholic picture of the slow fading of time as you feel like you’re fading with it. The words fall like snow onto cold fields of pulsing 80s synths and pounding drum machine rhythms that bring forth nostalgic familiarity but feel fresh at the same time.

Fans of classic icons such as Depeche Mode, Ministry, Nine Inch Nails as well as contemporary torchbearers Cold Cave and Kontravoid do not sleep on this.
Plenty of disturbing beauty to be found in the depths of the underground

Kaleida are the transatlantic duo whose darkly mystic soundworld finds glimmers of hope in the disquiet. Span- ning an ocean, the pair have nurtured a long-distance partnership that withstands the shifting patterns of life. They first formed in 2013 when a friend introduced them over email. Christina Wood was working in the Indone- sian forest while recording demos in her bedroom each night, and Cicely Goulder had been composing for film productions in London. Despite the miles between them, they found an instant musical chemistry.
Kaleida first came to international renown in 2014, when their single “Think” went viral overnight and was featured in the soundtrack for the cult Keanu Reeves film, John Wick. Their debut album Tear The Roots arrived in 2017 and crystallised the pair’s moody pop aesthetic, which merges Wood’s sylph-like, operatic vocals with Goulder’s neo-Noir electronica. The record earned the duo their sec- ond spot in a film soundtrack, this time for Atomic Blonde with a tender take on Nena’s 1980s anti-war classic “99 Luftballons”. It was followed in 2020 by the pair’s second album Odyssey dubbed “a consummate work of electronic artistry.” Their new album In Arms is a record that leans into a near transcendent spiritualism, where their minimalist production conceals a raw, celestial power. With a departure from their previously insular way of working, they invited other musicians into the production process, most notably producer Johan Hugo (Self Esteem, M.I.A, Skepta).

Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect. What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies ('Groove', 'Silhouette') and festival tent psychedelia ('Haunted', 'Dreaming Daisy'), by way of blissed-out funk instrumentals ('One To Four', 'Siamese Blundstone'). The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving basslines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4

Marilyn Monroe (born June 1, 1926, Los Angeles, California, U.S.—died August 5, 1962, Los Angeles). Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She had a good voice that matched her seductive visual appeal, and her limited catalog includes effective interpretations of the work of such songwriters as Harold Adamson and Hoagy Carmichael, Harold Arlen and Johnny Mercer; Irving Berlin, Sammy Cahn and Cole Porter. Marilyn Monroe's singing constitutes a significant part of her overall appeal as a performer. On this album “Diamonds Are A Girl's Best Friend”," I Wanna Be Loved By You", “Happy Birthday (For President Kennedy) ”, “The River of No Return ”, “Two Little Girls From Little Rock (ft. Jane Russell)”. a.o. Limited Edition on Blue Transparent coloured vinyl.

For Fans of Robyn, Tirzah, Charli XCX, Mica Levi, Jessy Lanza, Maurice Fulton. "Don't come closer, because I might hurt you boy / You don't deserve it, I treat you like a toy." So sings 28-year-old South East London musician Tatyana on "It's Over", the sad and squelchy electro-leaning title track to her second album. Primarily written and produced over the summer of `23, It's Over follows the loose trajectory of a not-quite-relationship from the year before. But, more than that, it's an album about modern dating, alienation and the confines of existing online. If you've heard Tatyana's name before, it's probably because she released a debut album back in 2022, Treat Me Right, co-produced with Metronomy's Joe Mount, a record she describes as more of a collaboration. For It's Over, Tatyana took control of every aspect of the album's creation, from the production (she co-produced it alongside Mikko Gordon) to the artwork and the technology she used throughout. "This record made me technically proficient because I really pushed myself," says Tatyana. "I figured out a lot of things that I didn't know before. In the past, I allowed others to lead the charge and I'm not doing that any more." Born in London, before moving to Russia, Holland and Singapore in her teens, before eventually studying music at Berklee College in the USA - which she attained on full scholarship - and then back to London, Tatyana imbues her music with both haywire technical proficiency and encyclopaedic, far-flung tastes. Mostly, though, her sound originates from a pure love of the dancefloor: Robyn, Tirzah, Mica Levi, Jessy Lanza, The Knife. You can hear these dance-pop influences everywhere, from the colourful synth shapes of "Control (ft. Dave Okumu)" to the crackling analogue hiss of "Nothing is True, Everything is Possible". Lean in a little closer, too, and you might catch the shimmer of a harp on every song (she's played harp since she was a little girl, and toured extensively as a professional session harpist). "I write about love, I write about romance, these are the things that interest me," says Tatyana. "That's what this record is. It's about this relationship that broke my brain and I had to write about it."

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

"Branigan is the debut studio album by American singer Laura Branigan, released in March 1982. The album features guitars by Steve Lukather from Toto. The album's lead single ""All Night with Me"", reached number 69 on the US Billboard Hot 100, while the second single, an English version of Italian singer Umberto Tozzi's song ""Gloria"", was a commercial success, propelling Branigan to international prominence. ""Gloria"" topped the charts in many countries, stayed on the US Billboard Hot 100, and earned Branigan a nomination for the Grammy Award for Best Pop Vocal Performance Female Branigan is available as a limited edition of 1500 individually numbered copies on red coloured vinyl. "

Branigan by Laura Branigan, released 22 March 2024, includes the following tracks: "Lovin' You Baby", "If You Loved Me", "I Wish We Could Be Alone ", "Maybe I Love You" and more.

This version of Branigan comes as a 1xLP.

The vinyl is pressed as a red disc.

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

Introducing "The Sevens” - A Sonic Revelation from A Place To Bury Strangers Prepare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. 'Chasing Colors/I Can Never Be As Great As You Are' is the second release coming March 22. "When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann. The vinyl is pressed as a white disc.

Much like the North Carolina wilds it reflects, Needlefall waxes and wanes from mysterious and unsettling to ecstatic and awe-inspiring, capturing the sacred dimensions of the natural world. Magic Tuber Stringband draw on a host of fellow travelers to realize Needlefall"s intricate arrangements, exemplifying the diversity of contemporary folk movements, placing their work in the tradition of modern innovators like Moondog, Harry Partch, Pauline Oliveros, and labelmate Sally Anne Morgan. The vast forests and mountains that inspire the band as a metaphor for living music traditions - ever-changing and yet still standing, shaped over time by human hands while equally shaping the human experience. Magic Tuber Stringband, from North Carolina, are Courtney Werner and Evan Morgan, accompanied by their regular bassist Mike DeVito. Morgan is an organizer within the local music community, and Werner is a dedicated naturalist involved in local land stewardship. Needlefall answers the question "what does a modern string band sound like?" with powerful new arrangements of traditional songs and transcendent originals. The album is teeming with life, translating abundant ecosystems into arcing melodies and shimmering, mystic drones. The band explains: "If you spend enough time out in the woods you inevitably see or hear things that are hard to explain. I"ve been in caves where it"s total darkness and you"re enveloped by the disorienting sound of dripping water. The natural sights and sounds in these places are often repetitive, percussive, expressive, sometimes unsettling - the way that water carves patterns into rock or tree trunks appear in endless rows."

Much like the North Carolina wilds it reflects, Needlefall waxes and wanes from mysterious and unsettling to ecstatic and awe-inspiring, capturing the sacred dimensions of the natural world. Magic Tuber Stringband draw on a host of fellow travelers to realize Needlefall"s intricate arrangements, exemplifying the diversity of contemporary folk movements, placing their work in the tradition of modern innovators like Moondog, Harry Partch, Pauline Oliveros, and labelmate Sally Anne Morgan. The vast forests and mountains that inspire the band as a metaphor for living music traditions - ever-changing and yet still standing, shaped over time by human hands while equally shaping the human experience. Magic Tuber Stringband, from North Carolina, are Courtney Werner and Evan Morgan, accompanied by their regular bassist Mike DeVito. Morgan is an organizer within the local music community, and Werner is a dedicated naturalist involved in local land stewardship. Needlefall answers the question "what does a modern string band sound like?" with powerful new arrangements of traditional songs and transcendent originals. The album is teeming with life, translating abundant ecosystems into arcing melodies and shimmering, mystic drones. The band explains: "If you spend enough time out in the woods you inevitably see or hear things that are hard to explain. I"ve been in caves where it"s total darkness and you"re enveloped by the disorienting sound of dripping water. The natural sights and sounds in these places are often repetitive, percussive, expressive, sometimes unsettling - the way that water carves patterns into rock or tree trunks appear in endless rows."

“Mother”, Logic1000’s debut album. “I felt so much love and inspiration entering into motherhood that I just needed to create something really powerful,” explains Samantha Poulter, the Berlin-based DJ and producer , who grewed up in the Sydney suburbs of Yarrawarrah and Botany Bay and better known to fans as Logic1000. “And with a lot less free time, you really make sure you make the most of any moment you get.” That vitality and renewed sense of purpose is captured on Mother.Preceded by the single ‘Grown On Me’, the 12-track set is a laser-focused “love letter to house music”, written in collaboration with her husband and long-time creative partner Thom McAlister (Cop Envy, Big Ever). Finding Poulter further fine-tuning her inventive, multi-genre approach, it’s a crucial contribution not just to the world of dance but to the canon of art inspired by parenthood. As Poulter herself puts it, a little awed, “I never thought I would be capable of something so powerful.”

More about the world has changed than not in the decade since dance production dyad Frank & Tony released their last full-length record, 2014’s You Go Girl. Despite, or perhaps in spite of, this shifting landscape, house music has managed to stay fundamentally reliable (either a bug or its greatest feature, depending on who you ask). Where previously, Frank & Tony have been celebrated for their contemplative, studious approach to the genre, with 2024’s Ethos, the Brooklyn/Biarritz-based duo return amidst metastatic cultural upheaval to prove out those scholarly credentials — with an album that serves to remind listeners why dancefloors and liberatory politics consistently share the language of movements and revolutions.
Undoubtedly, Ethos is tremendously influenced by the multitude of projects originating from, and supported by, the duo and their label in the decade since You Go Girl– releasing records from a vast diversity of artists (including Nadia Khan, Gry, Villete, Darand Land, Alex Albrecht, DJ Sprinkles and CCL), and Harris becoming curatorial voice of Brooklyn’s premiere venue for audiophiles, Public Records, where he continues to amplify work across a global diaspora (and where the duo maintain a residency of wide praise).

It is this bright energy and focus on the necessity of community and relationships that animates the aptly-titled Ethos. If past Frank & Tony releases have been lauded as ‘a coloring book in which someone has exclusively drawn inside the lines… with extreme precision,’ Ethos deviates by inviting friends in for a game of exquisite corpse. From singer and pianist Eliana Glass, whose androgynous, double-reeded voice freestyles across album opener Olympia, to distinct track features from fellow house masterminds DaRand Land, DJ Aakmael and Lawrence over half of the album’s nine tracks highlight artists in the larger Scissor & Thread circle.

Embark on a soul-stirring voyage with Oriana Ikomo as she unveils "THE HEALING," an EP that encapsulates the profound metamorphosis she has undergone in recent years. This musical journey is an ode to personal empowerment, and Oriana's resilience echoes through each note and lyric.

The EP unfolds with a powerful, ethereal introduction where the piano and Oriana's soulful voice are in the center. With a hauntingly beautiful atmosphere, she passionately repeats the mantra, "Be kind to the mothers, the sisters, the brothers, and the sisters," serving as both an affirmation and an importantmessage to the world.

Oriana's sonic palette is a rich tapestry of genres, seamlessly weaving together R&B, Gospel, Ambient, Jazz, Electronic, and Pop influences. Her sound throughout the EP is affirmed and robust, reflecting the strength she has discovered within herself.

In each track, Oriana showcases her exceptional versatility as an artist. From the heart-wrenching 'MAMA, LET'S GO' to the rhythmically charged 'IMMA PLEASER', she navigates effortlessly through different musical landscapes. The EP becomes a sonic experience, offering you a diverse and immersive experience.

"THE HEALING" is not just an EP; it's a musical expedition that invites you to delve into the depths of Oriana Ikomo's soul. Through her evocative lyrics and dynamic melodies, she invites you to witness the beauty that emerges from personal growth and self-discovery. Join Oriana on this transformative journey as she leaves an indelible mark on the intersection of R&B, Gospel, Ambient, Jazz, Electronic, and Pop, proving that empowerment and artistry go hand in hand.

Recorded in 1957, Paris.
Original LP issue: Guilde du Jazz J-1239.
When Miles Davis heard Barney Wilen for the first time during a jam session at the Club Saint-Germain in Paris, he exclaimed: “This is the best tenor saxophone I’ve heard in Europe, he plays tenor in an authentic way, much better than many current stars in the States.”

Barney Wilen’s mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother’s friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often.

He moved to Paris in the mid-’50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses (1960). He’s probably the first non-US musician to play at the Newport Jazz Festival – it was in 1959.

In 1957 he made his very first album as leader, The Barney Wilen Quintet for the US label Guilde du Jazz / Jazztone at the age of 20. Unfortunately, this record was not widely distributed in France because Barney was under contract with the French label Vogue. This album reflects joy and sadness on an emotional level by the subtletly of Wilen’s musical imagination and physical releasing the essential siprit of jazz swing. On this so rare record, Barney plays with : on alto Hubert Fol, who recorded couple of times with Django Reinhardt. On Piano Nico Buninck, born in Amsterdam, is considered one of the best Young pianist in his country. Lloyd Thompson is a Young talented bassist who played with Lester Young, Dizzy Gillespie and Kenny Clarke. On drums Al Levitt, 25, has already toured in the USA with Charles Mingus, Lennie Tristano, Stan Getz and Lee Konitz.

Rancid-Sänger Tim Armstrong ist auch als Chef seines Labels Hellcat immer wieder für Überraschungen gut. Bestes Beispiel: The Interrupters. Angeführt von der sehr umtriebigen Singer-Songwriterin Aimee Allen begann die Ska-Band aus Los Angeles ihre Arbeit mit Armstrong mit einer Single für dessen populäre Tim-Timebomb-Serie. Davor veröffentlichte Allen ein recht erfolgreiches Soloalbum und war als Backgroundsängerin auf dem von Armstrong produzierten und mit einem Grammy ausgezeichneten Jimmy-Cliff-Album "Rebirth" zu hören. Auf "The Interrupters" verbinden sie und ihre Kollegen Ska, Reggae und Punk, nicht ohne jedoch auf Humor zu verzichten, wie etwa in Songs wie "White Noise" und "Liberty". Für Fans von Rancid, The Distillers, Streetlight Manifesto, Sublime, Operation Ivy, Two Tone.

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic

Ivy Falls, the alias of singer-songwriter Fien Deman, will release her first full album in the spring of 2024. 'Sense & Nonsense' sounds mature, with a clear vision and direction. Fien wrote the album after a breakup and leaving her home; she witnessed cracks appearing in her life and found herself in a whirlpool of insecurities. Writing turned out to be the way to reorient herself and discover what she could fill her empty 'house' with. Everything changed: a new life, a new place, new people, and a new view of herself as a musician and writer. Bram Vanparys, aka The Bony King of Nowhere, makes his debutas a producer on Ivy Falls' first release. This unreleased duo impresses with 'the best coda for the confusing time that your twenties can be.'

Sometimes hitting a wall is inevitable. This occurred, partly even literally, in 2020: a broken nose, a painful breakup, and a series of chaotic events shook Fien's foundations. Losing her job, ending her relationship, leaving her home, and returning to her parental home, she hit rock bottom and started her quest to rebuild everything from scratch. After the tumult, Fien decided to shed the oppressive norms and ideas learned as a child and wholeheartedly pursue her own choices and projects.

In the years that followed, each aspect of her life gradually fell into its right place. This extended to her musical identity, themes, and sound. Acquiring some guitars and an upright piano, she endeavored to master them as a self-taught artist. Devoting ample time to her self-made home studio, she returned to the essence, distancing herself from the polished pop sound of her initial work and reconnecting with her first musical love - the singer-songwriters who had colored her teenage years. This rediscovered inspiration marked the first time in her musical career that everything felt perfectly aligned.

The album's artistic approach aligns with a fresh, expansive outlook on life and the future. Fien aims to challenge rigid societal concepts, including the notion of 'golden years.' She questions what and when exactly should be considered the most significant, joyful, and vibrant moments of life. The album delves into topics like the perceived superiority of extroverts, narcotic materialism, and toxic positivity. It's not a lament but rather an ode to what truly matters-the essence, love, and beauty. Fien's perspective encourages finding your inner child and immersing yourself in timeless and profound feelings.

Musically, Fien discovered her perfect match in Bram Vanparys (The Bony King of Nowhere), her newfound love. She wrote the songs, and he took on the role of album producer and co-arranger. Together, they crafted a metaphorical space where every small musical idea has room to flourish, and each insight and effort carries significance. Influenced by indie folk luminaries such as Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, and Nick Drake, Ivy Falls has set a high standard for her sound.

The main constant? Fien's distinctive voice commands every song, now revealing greater depth and nuance than ever. In live performances, Ivy Falls is joined by a talented ensemble: Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation), Simon Raman (Steiger), and Anton De Boes (Philemon).

In the past, Ivy Falls has launched two EPs, received airplay on Studio Brussels and Radio 1, and shared the stage as supportfor artists like Balthazar, Jessie Ware, Sigrid, and Mabel.

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic

Repress!

40 year anniversary release of this in demand modern soul masterpiece. For their third vinyl outing, Selector Series dig into the Archives of New Jersey’s Debbie Records from 1981 to re-issue this storming boogie re interpretation of The Carpenters standard, which found itself a legion of fans in the UK thanks to Gary Dennis’s championing of it.

In a pre Discogs era, this record attracted a £400 price tag amongst serious collectors back in the late eighties, with the original pressings still going for £500+ even now. The album has been re issued by several different labels over the ensuing years, but this double header is being made available for Record Store Day on a seven inch format for the first time officially, featuring the original album sleeve artwork.

Endlich ein neues Studioalbum zum 10-jährigen Jubiläum der norwegischen Hardrock-Helden. Seitdem die Band mit der Aufnahme von Twin Guitars für 'Spidergawd IV' begonnen hat, ist das Ziel primär die Suche nach immer besseren Songs. Spidergawd sind zuversichtlicher denn je, endlich das richtige Rezept gefunden zu haben. Eine Formation aus fünf gleichberechtigten Mitgliedern, alle Vollzeitmusiker, und welche die vor allem in diversen Genres unterwegs sind. Aber auch die Essenz dessen, was die Band sein sollte, ist jetzt auf den letzten vier Alben (einschließlich Nr. 'VII') zu finden. Auch wenn die neuen Songs vielleicht eingängiger/poppiger sind als je zuvor, orientiert sich der Sound des neuen Albums wieder an 'Spidergawd IV' und 'V'. Album Nr. 'VI' war eine inspirierende und interessante Reise darüber, wie direkt und aufgeräumt ihr Sound sein kann. Musikalisch zuletzt von Bands wie Thin Lizzy und 80er-Jahre-Hardrock geprägt, klingt neue Album deutlich sumpfiger, chaotischer und größer. Alles, was den Zuhörer näher an das heranführt, was bei einem Live-Auftritt von Spidergawd auf der Bühne passiert. Tracks wie 'Sands Of Time', 'The Tower', 'Your Heritage' oder 'Dinosaurier' beweisen, dass die Band on fire ist wie nie zuvor - und vielen Pseudo-Rockern mal wieder zeigt, wo der Barthel den Most holt! Die beiden limitierten Erstversionen kommen inkl. CD, 7inch Single (inkl. Etching auf einer Seite) sowie Poster!

Endlich ein neues Studioalbum zum 10-jährigen Jubiläum der norwegischen Hardrock-Helden. Seitdem die Band mit der Aufnahme von Twin Guitars für 'Spidergawd IV' begonnen hat, ist das Ziel primär die Suche nach immer besseren Songs. Spidergawd sind zuversichtlicher denn je, endlich das richtige Rezept gefunden zu haben. Eine Formation aus fünf gleichberechtigten Mitgliedern, alle Vollzeitmusiker, und welche die vor allem in diversen Genres unterwegs sind. Aber auch die Essenz dessen, was die Band sein sollte, ist jetzt auf den letzten vier Alben (einschließlich Nr. 'VII') zu finden. Auch wenn die neuen Songs vielleicht eingängiger/poppiger sind als je zuvor, orientiert sich der Sound des neuen Albums wieder an 'Spidergawd IV' und 'V'. Album Nr. 'VI' war eine inspirierende und interessante Reise darüber, wie direkt und aufgeräumt ihr Sound sein kann. Musikalisch zuletzt von Bands wie Thin Lizzy und 80er-Jahre-Hardrock geprägt, klingt neue Album deutlich sumpfiger, chaotischer und größer. Alles, was den Zuhörer näher an das heranführt, was bei einem Live-Auftritt von Spidergawd auf der Bühne passiert. Tracks wie 'Sands Of Time', 'The Tower', 'Your Heritage' oder 'Dinosaurier' beweisen, dass die Band on fire ist wie nie zuvor - und vielen Pseudo-Rockern mal wieder zeigt, wo der Barthel den Most holt! Die beiden limitierten Erstversionen kommen inkl. CD, 7inch Single (inkl. Etching auf einer Seite) sowie Poster!

"The Train I’m On was the fifth album by Tony Joe White. It was produced by Jerry Wexler and Tom Dowd and recorded in 1972 at the legendary Muscle Shoals Sound Studio. Acoustic textured for much of its length and built on a close, intimate sound overall, The Train I'm On is permeated with the dark side of White's usual swamp rock sound, filled with songs about unsettled loves and lives, and men caught amid insoluble situations. Betraying surprising vulnerability for much of its length, he shows off an emotional complexity that wasn't always obvious on his earlier work. Dark, pensive, soulful bluesy rock, highlighted by some bristling acoustic guitar work. The Train I’m On spawned three singles, including “I’ve Got a Thing About You Baby”, which was notably covered by Elvis Presley. The Train I’m on is available as a limited edition of 1000 individually numbered copies on yellow coloured vinyl.