Suche:one man edit

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Omara Portuondo, the leading lady of the Buena Vista Social Club, is one of Cuba’s most celebrated voices.
The album ‘Buena Vista Social Club Presents Omara Portuondo’ was released in 2000 in the wake of the phenomenal reception of the original Buena Vista Social Club album, and was remastered from the analogue tapes for its 2019 LP reissue. Omara is backed by a dream band formed of many of the original Buena Vista Social Club members including Ibrahim Ferrer (vocals), Rubén González (piano), Compay Segundo (guitar) and Orlando ‘Cachaito’ Lopez (bass).

To celebrate the “Women In Music” theme of this year’s National Album Day, this classic album will be pressed on limited edition purple colour vinyl.

2021 marks the 50th Anniversary of the legendary record Fela Kuti made
with Ginger Baker of Cream.
 This Anniversary edition features a newly unearthed second drum solo
from Tony Allen and Ginger Baker, taken from Afrika 70’s performance
at the 1978 Berlin Jazz Festival. Part I has never appeared on vinyl and
this second part has never been heard - until now.
 1978’s Berlin Jazz Festival marked Afrika 70’s final live performance with
Fela. In the Spring of 1979, several members of Afrika 70, including
Allen, would leave the band. Allen had been with Fela since 1964. 1980
saw the birth of Egypt 80, with Baritone saxophonist Lekan Animashaun,
who had been with Fela since 1965, as its founding bandleader.
 Reissued with Abbey Road mastered audio.
 Red double vinyl with collector's 50th Anniversary gold foil obi strip.
 Bespoke etching of album artwork on Side D.
 Fela’s legacy spans decades and genres, touching on jazz, pop, funk,
hip-hop, rock and beyond. While he never achieved true icon status
during his lifetime, the last (roughly) decade has seen a broad
resurgence in his popularity and a critical reevaluation of his life, music
and influence. In 2008, the biographical musical ‘Fela!’ (co-produced by
Jay-Z and Will Smith) became a surprise hit off-Broadway and then
Broadway itself. Since then, Beyoncé performed Fela’s ‘Zombie’ at
Coachella, he’s been called out as an influence by everyone from Paul
McCartney to Questlove and sampled by Missy Elliott, Kendrick Lamar,
J. Cole, Nas, and more. Vice President Kamala Harris even used Fela’s
music at her and President Biden's first joint event together.
 ‘Let’s Start’ features prominently in the trailer and the soundtrack for the
new Western, ‘The Harder They Fall’, staring Idris Elba and Regina King.
 Fela features prominently in an episode of Hulu’s docuseries ‘McCartney
3, 2, 1’, where Paul McCartney cites Fela as one of his important
influences.
 This past spring Fela came in second place, behind Tina Turner, for the
fan vote for the Rock & Roll Hall Of Fame nominations and received
great press coverage in NY Times, Rolling Stone, MOJO, Record
Collector and more.

Limited edition 180g blue coloured vinyl + 1 bonus track.
“January 4, 1956: Clifford Brown, Max Roach, Sonny Rollins, Richie Powell and
George Morrow met up in a New York studio to record At Basin Street, which
would be the group’s final album. That summer, Clifford Brown and Richie Powell died in a tragic car accident. This final testimony is one of the most exciting
records from a quintet which was like very few others.” - Jazz Magazine
“Each arrangement is worked to a point that actually propels the soloists, gives
them - and Brown particularly - maximum lift. These are classics of modern
jazz.” - Penguin Guide To Jazz
“Clifford Brown and Max Roach at Basin Street reemphasizes the loss jazz suffered when Clifford and Richie Powell died. Energetic, full-bodied jazz. Thoroughly recommended.” - John A. Tynan, DownBeat”

SHY, LOW are true masters of the exquisite craft of stark contrasts and broad dynamics, from delicate crescendos to the grandiose power of the riff_ a craft that lies at the heart of every outstanding instrumental rock record. The Richmond, Virginia based four-piece has made an absolutely incredible and epic album brimming with creativity, groove, heaviness and truly outstanding songwriting- a record that is intricate and mature, yet gloriously anthemic at the same time. The fantastic cinematic and (surprisingly, so) entirely self-produced first music video for the track ,Helioentropy", premiered at Roadburn Redux this year, was only a tastemaker for the 5th studio album and Pelagic debut, Snake Behind The Sun. Recorded, mixed and produced at Vudu Studios in Long Island, NY by Mike Watts (The Dillinger Escape Plan, GlassJaw, Hopesfall, Tides of Man), the album pulls from elements from previous eras of the band, but also pushes into new territory. The result is a slicker, more modern, layered and 3-dimensional sound. The album title is a metaphor for the notion that darkness and negativity can remain hidden even among seemingly positive forces and positive beings in one's life. As a matter of fact, the snake crawled out from behind the sun, while the band was in the studio recording the album: ,By week 3, there were talks of NY state locking down due to the rapid rise in Covid cases; with one day left before the lock down was alleged to go into effect, it became a mad dash to finish tracking the record so we could book it home to Richmond, Virginia", says bass player Drew Storcks. Though entirely instrumental, reducing the band's contemporary sound to the term ,post-rock" wouldn't do this record justice: there is much more to it than lengthy dramatic build-ups and bittersweet melodies played by delay-drenched guitars. Snake Behind the Sun is an astounding and immensely diverse record that will appeal to fans sitting on all ends of the broad spectrum of modern heavy rock music. Limited 2LP red single colour edition! FOR FANS OF PG.LOST, THIS WILL DESTROY YOU, CASPIAN, AND SO I WATCH YOU FROM AFAR, RUSSIAN CIRCLES, THRICE

Red Vinyl

Many musicians took to their craft as a means of solace during pandemic lockdowns by writing music for and of isolation. One such musician, Franck Zaragoza, who records as Ocoeur, took to his studio and composed pieces that came to him with a fluidity, making the lockdown a tad more bearable. However, this new album, Connections, was written with personal connections in mind, which Zaragoza focused on and strengthened during our collective confinement. As a result, Connections has a wondrous optimism yet still demonstrates the deep emotive vibrations and meticulous sound design that have resonated throughout his seven-album discography.
Connections is Zaragoza at his finest, an amalgam of his soundtrack work, his discography thus far, and the influence of an unforeseen silver lining to the pandemic.
Connections is out on September 10th on limited edition transparent red double vinyl.

LTD Edition inklusive Bonus 7inch!

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

This magnificent project was born in 2006 on one of the most famous labels in the world Mille plateaux . It was in 2006 and just in CD. It was important that a vinyl version existed.
Edith Progue is the project of Paris-based musician, Bernie Swell. After having formed izdatso as a gathering of musicians and visual artists in 1999, Bernie Swell has slowly but surely moved to a more minimal approach towards digital composing. Timeline consists of a chronological report of the different moods experienced by the composer over a 24-hour period of time spent in an apartment overlooking the dark waters of Canal St. Martin in Paris. The dreamy environment created by the melodic sound of an acoustic piano is only troubled by the intrusion of a few micro-electronic beats and sounds. The music was created as an attempt to reconcile the noisy environment that surrounds day-to-day modern urban life with the inner peace that can eventually be found through meditation. While listening to these pieces, you might leave the TV or radio on, or hear a cell phone's new message alert, a fridge sub-bass might rumble or, more simply, an opened window on a busy street would constructively mix with these hypnosonic soundscapes, revealing the hidden art behind any intruding noise/sound manifestation.

Distant Populations, just the fourth full-length album of Quicksand’s career,
comes as a comparatively swift follow-up to Interiors--which itself came a
full 22 years after its predecessor, 1995’s Manic Compression.
Critically lauded and deemed very much worth the wait, Interiors succeeded
in reestablishing the band as the powerful and contemporary entity they had
always been.
Distant Populations has a punchier, more up-tempo sound than its predecessor; its 11 songs are concise, carved sonic jewels boasting not a single wasted
note; and its raw power, its gripping lyricism, leaps out from the very first listening. It is a striking step up for the band.
The songwriting itself had been no minor process: Following the release of
Interiors, the band successfully toured around the world and in the process
fully re-established their chemistry together. Looking forward to making the
next album, the three of them frontman/ guitarist Walter Schreifels, bassist Sergio Vega, and drummer Alan Cage had methodically recorded various
soundchecks, improvisations, and show rehearsals, and compiled the results.
“Eventually, when it came time to make a record,” Schreifels says, “we would
just edit down to the ones that were most exciting to us all, and then refocus
on them and see if we could recapture the magic from it.”
There may be a final irony in the title of Distant Populations. Practically speaking, that’s precisely whom Quicksand recorded it for: Listeners very far away.
Not a single one of these songs has ever been played live onstage. The band has
dates on hold for the fall, notes Schreifels, and fingers are crossed Quicksand
will be out there performing very soon. They will likely be the most memorable
shows of the band’s career

Spirale were an Italian quintet from Rome, consisting of Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, flute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums) who released a single eponymous album in 1974. This is a release known mostly by Italian progressive rock lovers, since its sound can be easily associated
to the jazz-rock delivered by the way more popular Napoli Centrale and Perigeo - but also to the ‘fundamentals’ Dedalus, Arti & Mestieri, Uno, or even the lesser known Bauhaus for instance. But playing this
kind of music and trying to release an album in the first half of the ’70s in Italy was also incredibly hard and courageous: Spirale, in fact, was one of the many bands that lived a very short life, before splitting up and disappear forever. Spirale was originally released on the International King record label, thanks to Mario Schiano, a free-jazz
saxophonist who discovered the band, and producer Toni Cosenza, who included the album in the ‘King JazzLine’ series. Consisting of just four tracks, most of which taken by the 13-minute long “Cabral, Anno 1” and the marvellous 17-minute “Peperoncino (Cose vecchie, cose nuove)”, Spirale is an incredibly balanced and flowing record that sounds still fresh and inspired even today, and it’s a shame that it has remained hidden and overlooked for such a long time. Moreover, it is characterized by that undescribable and particular Mediterranean flavour that only Italian musicians were able to obtain. This beautiful album is of course immensely rare in its original edition, and is now finally reissued on Dialogo record label in a faithful restored version that will finally satisfy any collectors who have waited for
years for this beauty to see the light again!

Beautiful Garbage is the third studio album from Garbage, initially released on October 1, 2001. Marking a departure from the sound the band had established on their first two releases, Garbage & Version 2.0, the album was written and recorded over the course of a year, when lead singer Shirley Manson chronicled their efforts weekly online, becoming one of the first high-profile musicians to keep an Internet blog. The album expanded on the band's musical variety, with stronger melodies, more direct lyrics, and sounds mixing rock with electronica, new wave, hip hop, and girl groups. This brand new edition featuring newly remastered audio by Billy Bush & Butch Vig across Deluxe, LP, CD and Digital formats. The Deluxe edition includes Beautiful Garbage on 2 x 180g Black Vinyl, as well as a 12” 180g of B-Sides and memorabilia. The two Double LP formats have been pressed on 180g Black and 180g white vinyl respectively. This reissue campaign also features a triple CD featuring, original album, b-sides, demos and remixes housed in a deluxe clamshell.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

John Prine’s Grammy Award-winning album, Fair & Square, is available on vinyl for the first time in over sixteen years. There are three special double LPs: standard black, opaque green and a limited amount of “Irish Edition”—green and orange vinyl with a matte jacket featuring embossed lettering.
Originally released in 2005, Fair & Square won Best Contemporary Folk Album at the 48th Grammy Awards and achieved the fastest rise to number one in the history of Americana radio. The record marked Prine’s first album in nine years, following 1995’s Lost Dogs and Mixed Blessings. Rolling Stone declared Fair & Square “an excellent set of songs full of rootsy warmth and unpretentious wit,” while The Washington Post praised its relatability: “this low-key masterpiece arrives not just as a reminder of Prine’s cleverness and mischievous wit but also as a confirmation of his deeply human values. These are values rooted in the enduring mystery and majesty of everyday, ordinary lives.”
Prine is a four-time Grammy winner and Lifetime Achievement Award honoree, a seven-time Americana Music Award-winner, a PEN New England Lyrics Award recipient and member of both the Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame. Since his debut in 1971, Prine released over 18 albums and has had his songs recorded by Johnny Cash, Carly Simon, Bette Midler, Bonnie Raitt, Norah Jones, George Strait, Miranda Lambert, Zac Brown Band and many others, while drawing effusive praise from Bob Dylan, Kris Kristofferson, Bonnie Raitt, Roger Waters, Tom Petty, Bruce Springsteen and more.

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a

book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a

book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

The Men’s hugely influential album Leave Home came out during an exciting time in New York City. DIY lofts and shitty bars littered downtown Manhattan and North Brooklyn. The Acheron had just opened its doors. Kill Your Idols had broken up. Toxic State Records was just getting started with Crazy Spirit, Dawn of Humans, Hank Wood and Perdition EP’s. The city was alive with punk and noise and filth. And right at that time, The Men were the show to be at.

Every gig was dripping with sweat. Hallways and sidewalks were packed between sets. Chaos reigned in the pit. The Men hit like a bag of hard cement, a hardcore band with a familiar sound but with an aura of absolute chaos and intensity, like everything was on the brink of going off the rails at every moment of their set, a downhill freight train with no brakes. During these shows one’s focus could shoot back and forth between the intimidatingly angry-eyed, bald-headed Chris Hansell (who went on to front Warthog) and the long haired hippie punks Mark Perro, Nick Chiericozzi and Rich Samis, that made up the surrounding band.

Just one of the many juxtapositions the band embraced. If The Men were a chapter in Michael Azzerad’s Our Band Could Be Your Life, the early EP’s and cassettes would obviously be Minor Threat and Black Flag, while Leave Home would likely be… Sonic Youth. It was just before they made the full jump into each record being a smorgasbord of underground genres, from dream pop to folk;

before they had tracks called “Country Song,” for example. But it was a preview of what was to come. Leave Home was a pivot from pure hardcore punk (some might even call it mysterious guy hardcore), as the band got lost in the groove in a way one couldn’t on a straight up punk record. That groove was so strong on “If You Leave…,” “(),” and “Bataille,” while they spaced out on “Shitting With The Shaw,” and stayed as aggro as ever on “LADOCH.” But of course, Leave Home had a re-recording of their hardest track to date, “Think,” making it clear that they were still the moshers we all had come to know and love. If The Men raised their flag as an important New York punk band with Immaculada, they started waving it in the freakiest way with Leave Home.There is no doubt that Leave Home was one of the most influential records of the last decade.

You can hear their mark everywhere from Ty Segal and The Oh Sees to Milk Music and Hank Wood. Few bands have traversed as many genres as The Men and even fewer have done it so well. It is a testament to the band’s undying authenticity and adventurism that the record sounds as timeless and urgent now as it did when it blew the doors of New York punk off its hinges ten years ago, leaving a giant hole for bands of all kinds to come racing through.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

93 minute collection of the electronic, ambient, prog, and kosmische side of the 80's-90's Paul Chain catalogue. Paul Chain is widely revered in the Doom Metal underground, and rightly so, but this collection aims to highlight the many 'other' sides to his work. Anyone interested in NWW list or Mutant Sounds should investigate. Officially licensed collection bringing these gems to back to vinyl for the first time in 30 years.

Numbered edition of 300 copies.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.