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"And what about you? What are you looking for?" - René Daumal

This musical journey pays tribute to René Daumal and his enchanting world of mysteries and magic. The album shares its title with Daumal's novel, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, published posthumously in 1952, eight years after the author's untimely death.

Mount Analogue is a classic allegorical adventure novel. The novel describes an expedition undertaken by a group of mountaineers to travel to and climb the titular Mount Analogue an enormous mountain on a surreal continent, that is invisible and inaccessible to the outside world and can be perceived only by the application of obscure knowledge. The central theme of mountaineering is extensively explored through literary and philosophical lenses. Daumal died before the novel was completed, providing an uncanny one-way quality to the story, which ends abruptly in the middle of a sentence.

The first disc features a fifty-minute composition divided into six chapters: Introduction, Meeting, Supposition, Crossing, Arrival, and Conclusion. This album weavestogether a rich tapestry of diverse instruments, sounds, and voices that collectively tell the story of this conceptual work, loaded with a synesthetic multitude of colors, aromas, meanings, textures, and moods.

Contributors to this musical poem include Bill Laswell (bass), Henry Kaiser (guitar), Anna Clementi (vocals), Percy Howard (voice), Hideo Yamaki (percussion), Graham Haynes (cornet), Dorian Cheah (violin), Nils Petter Molvaer (trumpet), Peter Apfelbaum (keyboard), and P.ST (concept, electronics), who all lend their talents to a series of excerpts from Daumal's text.

A truly global project, the recordings took place across various locations in Europe, North America, and South America, culminating at Orange Music Studio in New York, thanks to the collaborative efforts of Bill Laswell, James Dellatacoma, and Michael Fossenkemper.

The second disc presents five improvisations for solo electric guitar by Henry Kaiser. The first solo, Jodorowsky's Peradam, draws its inspiration from Alejandro Jodorowsky's 1973 film The Holy Mountain, which was inspired by the Daumal novel. Kaiser's initial forty-eight-minute guitar solo serves as a foundational guide for his four subsequent, Rashomon-esque, solo musical interpretations of Mount Analogue, as seen through the psychedelic labyrinth of Jorodrowsky's cinematic masterpiece.

"And what about you? What are you looking for?" - René Daumal

This musical journey pays tribute to René Daumal and his enchanting world of mysteries and magic. The album shares its title with Daumal's novel, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, published posthumously in 1952, eight years after the author's untimely death.

Mount Analogue is a classic allegorical adventure novel. The novel describes an expedition undertaken by a group of mountaineers to travel to and climb the titular Mount Analogue an enormous mountain on a surreal continent, that is invisible and inaccessible to the outside world and can be perceived only by the application of obscure knowledge. The central theme of mountaineering is extensively explored through literary and philosophical lenses. Daumal died before the novel was completed, providing an uncanny one-way quality to the story, which ends abruptly in the middle of a sentence.

The first disc features a fifty-minute composition divided into six chapters: Introduction, Meeting, Supposition, Crossing, Arrival, and Conclusion. This album weavestogether a rich tapestry of diverse instruments, sounds, and voices that collectively tell the story of this conceptual work, loaded with a synesthetic multitude of colors, aromas, meanings, textures, and moods.

Contributors to this musical poem include Bill Laswell (bass), Henry Kaiser (guitar), Anna Clementi (vocals), Percy Howard (voice), Hideo Yamaki (percussion), Graham Haynes (cornet), Dorian Cheah (violin), Nils Petter Molvaer (trumpet), Peter Apfelbaum (keyboard), and P.ST (concept, electronics), who all lend their talents to a series of excerpts from Daumal's text.

A truly global project, the recordings took place across various locations in Europe, North America, and South America, culminating at Orange Music Studio in New York, thanks to the collaborative efforts of Bill Laswell, James Dellatacoma, and Michael Fossenkemper.

The second disc presents five improvisations for solo electric guitar by Henry Kaiser. The first solo, Jodorowsky's Peradam, draws its inspiration from Alejandro Jodorowsky's 1973 film The Holy Mountain, which was inspired by the Daumal novel. Kaiser's initial forty-eight-minute guitar solo serves as a foundational guide for his four subsequent, Rashomon-esque, solo musical interpretations of Mount Analogue, as seen through the psychedelic labyrinth of Jorodrowsky's cinematic masterpiece.

With `The devil's door' And Also The Trees, one true original Post-Punk/New Wave band, presents a quiet storm of an album. At times filmic, poetic and intense with an undercurrent of dark psychedelia. It completes a trilogy of works `The Bone Carver', `Mother-of-pearl Moon' and now `The devil's door' created by the current line-up. Here there are signature `And also the trees' poetic lyrics, orchestral guitar and soundtrack influenced songs inspired by newsreel, oil paintings and folklore. But with this work we have the addition of some surprising instruments that skew the album towards a world where John Barry meets Bela Bartok. And also the trees (AATT) formed during the original post-punk era in rural Worcestershire, an environment that has provided a constant inspiration to a group whose music has often explored the dark underbelly as well as the beauty of the British countryside. They are renowned for their captivating live performances, a unique style of mandolin-like electric guitar, evocative lyrics and dark jazz rhythms - not to mention a creative independence fiercely preserved for over four decades. Back then AATT immediately caught the attention of Robert Smith of The Cure, who invited them to tour with his group on several occasions. Smith was also involved with their early recordings alongside his bandmate Lol Tolhurst, who produced their first records. This longterm friendship and mutual respect was further solidified when AATT were invited to perform at the Robert Smith curated 2018 Meltdown festival in London. This July AATT appear as The Cure's special guests at the Nimes festival. Founded by singer Simon Jones and his guitarist brother Justin, AATT have maintained a continuous presence on the post-punk, and alternative rock scenes worldwide, with a solid fanbase e.g. in Germany.

The singles are long out of print!! “It's like electronic stoner rock. Very doomy, very sabbath! Sit back and nod your head to it. I don't know what this sounds like!’ JACK OSBOURNE (review of Kling Klang’s Heavydale in Kerrang) KKKKK - Single of The Week // “I could not believe it when I saw that there was a band named Kling Klang from Liverpool. A group named after Kraftwerk's Dusseldorf studio? I had to check them out. Pounding Krautrock inspired Motorik beat, like Neu! welded to incessant Phillip Glass keyboard riffs on acid. But somehow creating their own authentic style. I had to go and say “hello” and offer them studio time. Great maverick music… Their recordings still sound amazing, and like no other band that I have heard before or since.” Andy Mccluskey, OMD // “I first heard Kling Klang when recording The Coral with Geoff Barrow (BEAK>) and we immediately loved them. Heavydale blew me away then and still does. When we curated All Tomorrows Parties festival we invited them to play, then invited them to come on our European Tour for our Album Third. They were so awesome live. For me, when they played it was the beginning of the whole show and not just a support band. So cool this collection of singles is happening.” Adrian Utley, Portishead.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Brooklyn duo The Still Brothers is a musical project of childhood friends Evan Heinze (The Shacks/Big Crown) and Andrew LeCoche (Ula Ruth). Heinze has toured with the likes of Khraungbin, Lee Fields and Cut Chemist, while LeCoche’s old band once opened for Paul Simon and Edie Brickell. A former student of Madlib’s uncle Jon Faddis, LeCoche has scored music for Netflix and Patagonia and sound design for Twitter, Patron, and Marvel. Signing to Lewis Recordings in 2020 the band’s first single ‘The Deep’ was instantly picked up by Steve Lamacq on BBC 6 Music who regularly plays it to this day. ‘Wake Up’ featuring the vocals of Marina B. spent six weeks on the BBC 6 Music playlist gaining support from Lauren Laverne, Gilles Peterson, Mary Anne Hobbs, Craig Charles, Huey Morgan, Cerys Matthews, Don Letts, Tom Ravenscroft and Guy Garvey. Lockdown didn’t slow down the band’s creativity with many tracks on their self-titled debut EP recorded remotely. Two such tracks were the collaborations with London based singer/songwriter Shauna Kelly aka Shoshy. ‘It’s Not Over’ and ‘Crazy’ were released on 7” and both received BBC radio support. Marina B stepped back on the mic with the upbeat hit ‘I Wanna Be With You’, a dancefloor filler mixed by St. Frances Hotel (producer for Michael Kiwanuka). The b-side ‘Sungalz’ is a hazy dream pop number that started life as an instrumental jam

This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more.
Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered.
The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges river. Classical music in India was perhaps at its height during the 78rpm period as the Raj era was ending and the world was globalizing.
2-LP gatefold with 12 page full-color booklet insert - features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Robert Millis from his collection of 78rpm records and ephemera.

James Davison, the most startlingly talented UK brass player of his generation, joins this highly experienced team with brilliant results. Charlie Parker's 'Ornithology',Thelonious Monk's 'Straight No Chaser', Billy Strayhorn's 'Satin Doll' and Horace Silver's 'Peace are amongst the gems to be found here. This is the second Woodville Records release to be based solely around the brilliant arranging skills of world class trombonist Mark Nightingale. The first, Alan Barnes plus 11 (WVCD151) featured Mark's adept and characterful handling of a twelve- piece ensemble. Jazz Classics ...with a Twist displays equal inventiveness and imagination, showcasing a sextet line-up in a programme of individually re-thought takes on these ageless tunes. In Mark's hands this band frequently resembles a much larger ensemble such is his skill in manipulating tone colour and voicing.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
Portrait in Jazz was Bill Evans' third album as a leader, following New Jazz
Conceptions (1956) and Everybody Digs Bill Evans (1958). It was also Evans' first
studio album with his legendary trio, featuring Scott LaFaro and Paul Motian.
The repertoire here consists of standards (all of them treated in Evans' very
personal style) plus two originals, "Peri's Scope" – premiered on Portrait in Jazz,
and "Blue in Green," which was co-composed by Miles Davis. Bill first recorded the
latter composition in March 1959 with Miles for the classic album, Kind of Blue.






[f] BLUE IN GREEN [alternative take]




[k] AUTUMN LEAVES [Mono take]

"Tonight At Noon" compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, Saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album "The Clown" (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on "Oh Yeah" (Atlantic SD 1377).

The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avantgard Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is appararently boundless. Mingus’s piano playing is deeply rooted in the blues, and his sense of tempo and lightness anhances these numbers, particularly in "‘Old’ Blues for Walt’s Torin".

In these compositions one already finds hints of Mingus’s later recordings. The most beautiful number is taken from the 1957 session and concludes the album: "Passions Of A Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album’s magic.

Hailing from the diverse California “DIY” music scene, San Jose's SUPERWORLD (Brandon Holder, Dan Vo, Drew Satterlund, Francisco Duarte, Cameron MacBain) is a hi-energy screamo act whose music is a celebration of friendship, and whose friendship is a celebration of music. Getting together and writing under the radar for some years, the group would play a handful of sets at local house shows before ever deciding to release a song. Performed with a trademark looseness of feel, their tracks bridge maximalist aggression with the low-key and melancholy, somehow collaging the careful intricacy and sentimentality of early 2010's math rock with subtle pop sensibilities of classic guitar-driven music from the latter half of the 20th century. SUPERWORLD's tonal unpredictability is neither forced nor abashed, and remains tightly bound by each member's approach to the arrangements in whole.

Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers.
The mysterious and discreet man evokes an encounter between Justice beats and the universe of John Carpenter.

Across ten tracks, Leather Temple, the third and final chapter of the Leather trilogychannels a raw and nervous energy, somewhere between saturated electro, industrialfever, and 90s synthetic pulse. Yet behind this intensityalso lies a cinematic andorchestral dimension, with arrangements that expand the horizon and add dramaticscope. A tight format, a constant intensity: Leather Temple goes all in on impact,balancing raw immediacy with the feel of a post-apocalyptic moviesoundtrack.

Auch wenn die NWOBHM zum Zeitpunkt der Veröffentlichung von Elixirs »The Son Of Odin«, im Juli 1986, bereits Geschichte war, zählt das Album zu den besten Alben der Bewegung. Mit einer neuen Fassung ihrer hoch gelobten Single ‘Treachery (Ride Like The Wind)’, viele Jahre nach der ursprünglichen 7“, wurde »The Son Of Odin« vom englischen Terrorizer-Magazin als eines der Top 20 Power-Metal-Alben gekürt, während es das Sweden Rock im April 2010 als „Album-Klassiker des Monats“ auswählte. Elixir starteten 1983 in London. Die fünf Musiker nannten seinerzeit das erste Album von MSG sowie »British Steel« von Judas Priest sowie neuere Bands wie Mercyful Fate und Queensryche als ihre Haupteinflüsse. 1985 erschien die Debüt-Single ‘Treachery (Ride Like The Wind)’, die im Kerrang! von keinem Geringeren als Ronnie James Dio in einem Gastbeitrag abgesegnet wurde, was die Band anspornte, ihr erstes Album in Angriff zu nehmen. Das Resultat war »The Son Of Odin«, aufgenommen im Januar 1986 im The Lodge Studio von The Enid und sechs Monate später abgemischt. Nahezu überall folgten überschwängliche Kritiken, nicht zuletzt im Metal Forces, wo Dave Constable zu Protokoll gab: „Eine selbstfinanzierte LP, die so manche Veröffentlichung eines Major-Labels in den Schatten stellt.“ Constable resümierte: „Ich höre mir lieber »The Son Of Odin« an, als die hundertste Version von »Turbo« oder »Somewhere In Time«.“ Die 40th Anniversary Edition dieses unsterblichen NWOBHM-Klassikers beinhalt zusätzlich zum regulären Album die vollständige Session, von der die ‘Treachery (Ride Like The Wind)’-Single stammt, genauso wie das vorangegangene Demo und die BBC Friday Rock Show Session. Zudem erzählen aktuelle Interviews mit Gitarrist Phil Denton und Manager Seymour Mincer erzählen die Geschichte des Albums.

Mourn The Light kehren mit einem beeindruckenden neuen Album zurück, das epischen Heavy Metal mit einer düsteren, doomlastigen Atmosphäre verbindet und mit gewaltigen Vocals, emotional aufgeladenen Melodien und massiven Riffs überzeugt.

„Sorrow Feeds the Silence“ hebt den charakteristischen Stil der Band mit dramatischem Songwriting, dynamischen Arrangements und einem Sound, der an die Glanzzeiten des klassischen Metal erinnert und gleichzeitig mit moderner Intensität voranschreitet, auf ein neues Niveau. Von herzlichen, langsameren Passagen bis hin zu triumphalen Metal-Hymnen ist dieses Album das stärkste und vollständigste Statement in der Karriere der Band.
Unverzichtbar für alle, die kraftvollen, melodischen und atmosphärischen Heavy Metal suchen.

Für Fans von Candlemass, Dio, Grand Magus, Solitude Aeturnus, Savatage.

Sundays is the debut full length from Oakland-based Tanukichan, aka multi-instrumentalist Hannah van Loon. At surface level, the album sounds just how the title describes: hazy, dreamy, reflective, just like a lazy Sunday afternoon. Upon second and third listens, the dreamy music unveils a deeper world: an ever present sense of longing, an endless state of summer and a period of instability that plagues us all at one point or another in our lives.
Raised in San Francisco, van Loon started out making classical, bluegrass and jazz music as well as playing in numerous bands in the area before deciding to make something more personal. What started with a few unfocused demos, with van Loon playing all the instruments herself in her house, became a studio experience and viable collection of music after her friend Anthony Ferraro of Astronauts, Etc. introduced her to Company Records founder Chaz Bear (Toro Y Moi, Les Sins). After collaborating on her 2016 EP Radiolove, van Loon and Bear set out to make a much more sonically cohesive release, with both the producer and artist playing all the instruments on the record. The result is a slice of dream pop that could only come from the combination of the laid back atmosphere of California and the nostalgic and often difficult memories that are generally associated with coming of age.
To van Loon, the tracks of Sundays are a form of contemplation and approaching life’s issues from a different and less complicated perspective. “Sometimes for me, it feels easier to write songs about things than to talk. A lot of things in life are layered and paradoxical, but with songs it always seems simpler.”
Opening track “Lazy Love” sets the stage, sonically and lyrically, for the rest of the album, combining vulnerable lyrics with gorgeous, fuzzy tones. Above pummeling synths and guitar tones, van Loon sings “you know I'd do anything/don't you know I try my best/if I could wake up when the sun is rising” showing the album’s constant theme of balancing always wanting to be the best person you can be, while also feeling a low level joy at letting life play out as it wants to. “Natural” is a track that feels perfect for a road trip, a track that hums away with a driving beat, culminating in the sheer excitement of finally having a night alone with someone you’ve loved for a while, among many highs and lows: “a window too bright/it's natural sunlight/grey fades to white lie/kiss you tonight/it's natural delight/help me feel right.” The tracks collectively address a deep rooted sense of yearning for someone, something new, while also feeling content with your life; a realization that maybe the places you’ve always belonged aren’t where you should be anymore, that suddenly you might be looking for something completely different.
“I settled on the name Sundays as the title of the record because it encapsulated how the record felt to me,“ van Loon says. “I was thinking about the laziness, and dreamy clarity that you can feel after a late night, waking up having to face the world with a new perspective.” Sundays encapsulates this feeling, a nostalgic way of looking at the world, waking up feeling like a slightly different person than before, looking back on life, not sure if you can tackle what’s next, but doing your best, day in and day out

Peru's soul classic “CARINITO” covered by Japanese cumbia band REAL THING! Plus, a jungle version is also included!
This cumbia, blending passion and sweetness, is a true killer tune beloved not only by bands across South America but worldwide, reinterpreted
countless times in different styles.

Rick James Blends Brazen Attitude, Fearless Sexuality, and Shrewd Charisma on Street Songs:

Punk-Funk Album Aims for the Hips and Head, Includes the Timeless Hit “Super Freak”
Sourced from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies:

Mobile Fidelity’s 180g 45RPM 2LP Set Presents 1981 Smash in Audiophile Sound for the First Time
1/4” / 30 IPS analogue master to DSD 256 to analogue console to lathe


“Punk funk” was a relatively unknown concept before 1981. But once Street Songs took the charts by storm that year, the world soon knew about what became Rick James’ signature style. And how. True to its name, Street Songs blends outspoken sexuality, brazen attitude, and edgy commentary amid contagious R&B-fueled arrangements that simultaneously aim for the hips, head, and various nether regions. And it’s never sounded better.

Sourced from the original master tapes, strictly limited to 4,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents James’ platinum-certified effort in audiophile quality for the first time. Playing with crisp dynamics, lively textures, airy headroom, and revealing clarity, this collectible edition of the record that stayed at the No. 1 spot on the R&B Album Charts for 20 weeks invites you to get closer to music that beckons you to turn your space into a private dance floor.

Then again, you’ll likely be so taken by how the taut bass lines, snappy rhythms, and four-on-the-floor beats — all rendered in stunning detail and with full-bodied architecture — come across with such accuracy and presence, you might stay pinned to your seat. On this pressing, the soundstaging, imaging, and lit-fuse energy of Street Songs reach new heights. Everything from the rubbery feel of the guitar lines to the depth of James’ temperature-raising vocals to the scale of the horn charts emerges as if James and his ace session crew set up in your room.

The Buffalo native and his ensemble waste no time getting their message across. On the album-opening “Give It to Me Baby,” James and company lay down a mix of sleek funk and pulsing disco that practically activates the bright lights of a discotheque and stimulates the libido of anyone within earshot. Having reached No. 1 on the Billboard Hot Soul charts, the song is pure sex — and just one of the carnal delights on a record that embraces the subject as fearlessly as James does his identity.

Of course, the most famous of James’ erotic excursions — the timeless “Super Freak” — hit No. 1 on Hot Dance Club Play charts, No. 16 on the Hot 100, and, later, No. 153 on Rolling Stone’s list of the Top 500 Songs of All Time. Bolstered by a quavering keyboard theme and electro riffs, the much-sampled track worms itself inside your muscles with smile-inducing subject matter, gliding vocals, nimble movements, a hot tenor-saxophone solo, and backing vocals by the Temptations.

The iconic Motown group isn’t the only celebrated guest artist on the Grammy-nominated Street Songs. James’ then-labelmate, Stevie Wonder, lends harmonica to the frank sociopolitical narrative on “Mr. Policeman,” a protest tune that also manages to stroll ’n’ strut via simmering organ, staggering brass accents, and James’ gritty vocal performance. In addition to contributing backing vocals on several cuts, Teena Marie turns in one of the album’s signature moments on “Fire and Desire,” a romantic old-school duet with James that impresses with smoothness, sensitivity, and smokiness.

High-profile colleagues aside, James remains the undisputed star, a figure whose leather-and-latex attire, braided hair, and natural swagger made him misunderstood by some in the mainstream and embraced by everyone in the know as a true original. As a testament to his magnetism and skills, his charisma and rawness seemingly seep through every note, whether on the balladic sweep of the risqué “Make Love to Me” or strident, poke-and-prod persuasion of the moonwalking “Call Me Up.”

On the closing “Below the Funk (Pass the J),” an uptempo autobiographical tale that addresses the visionary musician’s second-favorite love, the singer acknowledges his upbringing and inseparable connection with his roots — an homage to where he began and a toast to where he’s gone.

Rick James, keepin’ it real on Street Songs, still as real as it gets.

Von "Closing Time" über "Nighthawks At The Diner" und "Blue Valentine" bis "Heartattack And Vine" - zwischen 1973 und 1980 veröffentlichte Tom Waits sieben Alben bei David Geffens Label Elektra/Asylum. Sie formten Waits" Ruf des vagabundierenden, exzentrischen und trinkfreudigen Sonderlings. Alle Werke bringt Anti-Records jetzt hochwertig remastert neu heraus.

Scandi figurehead Per Hammar switching things up for the Kalahari debut.

No stranger to a curveball, as demonstrated here. The dub techno donny goes anthemic, bouyant and triumphant on the first one, full frontal techno tessellations for the rest.

Flashes of braindance, the groove militant where it’s required and he goes liberal with the samples. Earworm potential and sound sensitive inclinations on display, as we’ve come to expect, but always on the front foot. Rude, direct and never at risk of taking itself too seriously.

Time-stretched modulations and head-spinnin’ flourishes of hauntological detail underpin the insistent technoid throb. A masterful balance between dancefloor utility, dubwise dynamixxx and sheer variety.

Absolutely zero bloat, every track a stone-cold killer. Proper ruff ’n’ ready torque.

My Days of 58 is the eighth Bill Callahan album, his first since 2022. The twelve tunes here open uncanny depths of expression as Bill continues to blaze one of the most original songwriting-and-performance trails out there. Applying the living, breathing energies of his concerts to this album production, he sharpens his slice-of-life portraiture to cut deeper, releasing a stream of singalong consciousness: poetic, cinematic, novelistic, comedic - and above all - musical.

Impatience is thrilled to present Leaving Memory, the latest album-length work by Piper Spray and Lena Tsibizova. Leaving Memory is a searing distillation of the duo’s ouevre - it’s eleven prismatic electronic seances combining for a mind warping wormhole with it’s own internal (il)llogic, where pop, ambient, and industrial music convene beneath a rugged HD of digital processing and brain fog. Equally rosy with nostalgia as it is ominously forward looking, Leaving Memory defies easy categorization and makes for an astounding, confounding listen.

By turns violently abrasive and disarmingly touching, Piper and Lena deploy sounds that fracture and disintegrate, burn up and explode, synthetic supernovas that give the record an unmistakable, inimitable texture. Song structures often abide by their own blueprint - heading in one direction before making an abrupt dive elsewhere. Bursts of vibrant colour lurk below layers of grayscale noise. Unidentifiable voices deliver secret messages from the murk. When rhythm’s emerge they ground the tracks to some unknown terrain and invigorate.

Lame Line veers towards the sweeter end of their spectrum, a hazy plaintive repetition increasingly lashed with friction, before Exit erupts with clanging rhythm and shards of distortion. Diagnosis is an almost sweet alt-pop song, Lena’s vocals yearning beneath a dubby shuffle, while Keeper Of The Void’s possessed incantations open up to a ripping, fried climax. Beryl Grey releases the pressure gauge, a gently lilting drift arpeggiating as the sun sets, and Lost Cars sweats through claustrophobic drones and bird song before the clouds part on a serene scene. Leaving Memory closes with Shin, offering a genuinely sweet resolution and a gentle landing back down to earth of either footsteps or fireworks, swelling synthesized horns and woodwinds, a kiss on the cheek for making it out the other side.

On Leaving Memory, Piper Spray & Lena Tsibizova share their uniquely discordant take on freaky music for unsettled minds, an intensely energized set that offers a deeply evocative, unimaginable otherworld for adventurous ears.

Piper Spray and Lena Tsibizova have been producing music together since 2020. Leaving Memory is the first to be presented in the LP format. Piper has previously released music via Orange Milk, Hausu Mountain and Gost Zvuk, as well as his own Singapore Sling Tapes label. Lena works predominantly as a photographer, and together Piper and Lena have released music via radio.syg.ma and Kartaskvazhin. Both make music as part of Air Krew, who have released music on the Echotourist and Motion Ward labels. They’re both currently based nowhere.

Leaving Memory was written, produced and mixed by Piper Spray and Lena Tsibizova, and mastered by Sergey Podluzhniy. Cover photo by Lena Tsibizova, design and layout by Justin Sloane.

Hidden away amidst the bustle of Rio de Janeiro’s Catete neighbourhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighbourhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento’s new album VILA, a collaborative project with a sixteen piece orchestra led by trombonist and arranger Vittor Santos.

Recorded between Rio de Janeiro and Los Angeles, VILA is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos’ breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation.

Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino.

Vittor Santos is an arranger and Trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.

=====================================
Credits:

Fabiano do Nascimento – 6, 7 and soprano guitars.
All orchestral arrangements and production by Vitor Santos.
Recorded at Electro-Sound studio, Los Angeles and Estúdio Fibra, Rio de Janeiro
Engineered by Jason Hiller and Garbiel Lucchini
Mastered by Mike Bozzi

Oboe – Francisco Gonçalves
Contrabaixo – Rodrigo Villa
Drums – Márcio Bahia
Violino - Ricardo Amado
Violino – Thiago Teixeira
Violin – Daniel Albuquerque
Violin – Márcio Sanches
Viola – Ivan Zandonade
Viola – Dhyan Toffolo
Cello - Hugo Pilger
Cello – Janaína Salles
Double Bass – Rômulo Gomes
Clarinet – José Batista
French Horn – Philip Doyle
Trombones - Vittor Santos
Violin – Daniel Guedes

From out of nowhere comes a unique collaborative album from Edvard Graham Lewis (WIRE) & Mark Spybey (ZOVIET FRANCE). Mixing lush electronic rhythms, sonic collage, ambient soundscapes and manipulated field recordings, these six compositions form an album with a strong identity. That this is such a vital and fertile partnership should come as no surprise. After all, both men have made careers out of creating confidently questing musics. Lewis with Wire, He Said, Hox, Dome etc. and Spybey with Dead Voices on Air, Beehatch, Altered Statesmen, Zoviet France and so on. This new album however, is something different again: experimental, yet tightly focused, and not averse to the groove or the sly hook. The pair met via an appearance on a podcast in November 2022, hosted by cEvin Key of Skinny Puppy. They hit it off immediately. “We did a live chat with Graham - which I think, went on for about three days” jokes Spybey. It was Spybey who first broached the idea of collaboration. “It was a bit like shy bairns get nowt: I just said ‘maybe we should make something together.’” And so, with no plan other than to see what might develop, the duo began to assemble the compositions at long distance. Indeed, Lewis and Spybey only met in the real world after the album had been completed. “Mark sent half a dozen tracks in a stereo mix,” says Lewis. “And I looked at the ’topography’, to see where the spaces might be. So then I’d add to those areas. But then, when do you take it away? Sometimes you let it drop off a cliff, land in the shingle, and it gets washed out to sea again.” The process moved at a pace. “Almost everything each of us brought, ending up being incorporated in some way.” Says Spybey. “We didn’t really go down any cul-de-sacs.” As Lewis observes “We have such a sympathetic tone.” Full of inventive sonics that draw on both men’s previous work, ‘Lewis/Spybey’ offers up a richly detailed soundworld

French artist Trypheme debuts on Impatience with “Odd Balade”, a darkly-hued collection of songs drawn from human delicacy and dreamworld mythology.

“Odd Balade” is Trypheme’s most ambitious and boldest record to date - both lyrically and musically. The album’s thirteen tracks resist rigid genre boundaries and flutter from medieval folk realms, sprawling synths, gothic 80s wave, leftfield pop, haunted vocals, mutant electronica to reverbed guitars - all reflected through her own shadowy prism. Especially album closer “A Walk In The Vercors” evokes a soothing serenity that echoes the sonic balm of Julee Cruise.

Trypheme’s musical repertoire trends heavily electronic and somewhat abstracted, but on “Odd Balade”, the artist slips into the role of the modern troubadour with a shift to a more poetically and personal songwriting that is infused with symbolism and dreamlike fantasies. The connective tissue of the album is the audacity to love and the vulnerability that ensues. As intimate and introspective as the lyrics are, the themes remain universal and human to the core: the fear of losing a loved one, the melancholia of leaving places and t“the fear of losing a loved one, the melancholia of leaving places and the cycles of life. The record was largely composed in Chars, stirred by the French village’s eerie atmosphere and frequent trips to the seaside in Brittany, where Trypheme resides. Drawing inspiration from the rugged terrain of the seaside landscapes, the writings of Allen Ginsberg and Mark Fisher and the hyperrealist art of Scott Prior, Trypheme uses her songs to depict life with broad strokes of rhythm.

On “Odd Balade” Trypheme consolidates herself as a gifted, nimble songwriter, masterly producer and subtly powerful vocalist. The record combines her skill for crafting lush, alien sound worlds and efficient, alluring arrangements with stealthily devastating songs. Belin’s voice becomes a key ingredient, appearing on eleven of Odd Balade’s thirteen tracks, by turns heavily manipulated, sampled and replayed as a form of percussion, or basically bare.

“Odd Balade” is the manifestation of Trypheme’s roving artistic practice, a ceremonial-grade sacrament cast in a rich nocturnal glow. Pairing the mundane with the mythic, the album stays true to its core: odd and strangely familiar.

RIYL - Riding off into the sunset to an unknown destination, hauntology, present, tales told by the fireside, hot summer rain, adventures, to feel a warm presence when you are walking in the forest or in the mountain, coastal landscapes, sailor’s stories, slow motion, vitesse, heavy blossoms, colors, the warmth of the sun, the tenderness of the moon, getting lost in unfamiliar streets, city’s lights, motorway rest area by night, magic numbers, rendez-vous, picnic, serendipity, poetry, the smell of old records and old books.

Tiphaine Belin has been releasing music as Trypheme since 2016. Odd Balade was written and produced by Belin, and mixed by Belin and Abel Roux. It was mastered by Amir Shoat. Cover art photography is by Ariane Kiks, with art direction by Ariane Kiks in collaboration with Mathilde Chaize.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Chris Liebing and Charlotte de Witte announce their second-ever collaborative release, 'Symphonie des Seins' (Symphony of Existence). The release, taking in an original alongside a Dub mix from Liebing, follows 2019's 'Liquid Slow' from the pair and marks the second release ahead of Chris Liebing's 'Evolver EP' releasing in late-March.

A surging acid-beast channelling mid-90s techno energy, 'Symphonie des Seins' sees de Witte delivering a tweaky, spoken
vocal comprising the hallucinogen-fuelled diaries of ayahuasca and DMT trip reports that Liebing stumbled upon online. Crisp
but heady, old school but utterly contemporary with its delivery, 'Symphonie des Seins' sees two techno artists with very
di?erent formative eras converge perfectly with a razor-sharp piece of dancefloor mayhem.

Following January's 'Roy Batty' EP, Chris Liebing and Charlotte de Witte's 'Symphonie des Seins' is the last single before Liebing's thirteen-track 'Evolver' LP lands on March 27th. The 'Evolver LP' features additional collaborations with Luke Slater, Speedy J, The Advent, The Alte Stuben Modular Ensemble aka Daniel Miller, Terence Fixmer, and Pascal Gabriel and is Liebing's first solo Techno LP, having focused on long-form electronica output alongside co-writer Ralf Hildenbeutel for 2018's 'Burn Slow' and 2023's 'Another Day' for Mute Records, and the André Walter co-produced 'Evolution' in 2002.

„ behind horizons at the end of a breath why I love luna parks *_* „

Ben Kaczor debuts his first LP on St. Odes. Sirene showcases a more experimental and cinematic approach to sound. Tracks such as Amusement Impressions and Phantom Blues emerged from his fine art studies, while Sirene and Oval Waves reflect his work with the Buchla Easel. The artwork features a photograph by the artist himself, making the record one of his most personal works to date.

artwork by : Ben Kaczor / mastering by : Isabel Schröer

Samurai Music offshoot SAIBAI welcomes legendary producer ASC to expand upon the label's widescreen strain of electronic music plumbing the depths between techno, electronica and broken beat.

ASC is the flagship project for James Clements, a prolific veteran of the scene who started releasing his distinctive twist on drum & bass back in the late 90s. Across a variety of aliases and many different label projects and collaborations, Clements has retained a strong artistic identity defined by steely atmospherics, rhythmic intrigue and precisely sculpted sound design. He brings those qualities to SAIBAI3.

On 'Raijin' the tempo prowls at 90 BPM, all the better to carry the bass snarls and haunted melodies hovering in the middle distance. 'Rasetsu' meanwhile hides its much sprightlier 150 pace behind a half time construction punctuated by a tactile, almost organic set of percussion. 'Kyubi' sinks into a deep, inky well of spatial sound design with just a light smattering of percussion and a weighty kick for guidance. 'Shigure' completes the picture with a mesmeric tapestry of shifting textures and brooding melancholy.

Clements has devoted much time recently to his ambient output, and it shows in the richness of the space he shapes around his needlepoint patterns, while his roots in more propulsive club music show their hand in subtle, understated ways. It's this balance that makes the release the perfect addition to SAIBAI's evolving story.

Limited to 200 copies

Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one, vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It's not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”

SAM GOKU (Permanent Vacation / Dekmantel / Atomnation)
Paryìa marks its eighth release with Sam Goku, whose contribution showcases not only the creative depth of his dreamy side but also just how club-ready his tracks can be. Rooted in shimmering house and techno yet fluid across a wider spectrum, both Sam Goku’s sets and productions strike a balance between effortless buoyancy
and intricate depth. A distinctive sound that seamlessly blends elements of his roots with everything dance music lovers cherish: richly textured layers, hypnotic repetition, and a subtle sense of unpredictability. This balance is also reflected in his EP on Dekmantel (2024) and Permanent Vacation (2025), shaping a sound that is instantly recognisable and quietly enduring.

Synthpop, minimal wave, post-punk, goth, new romantic - fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language. And if you can't precisely define the band, that's the point. Frontman Ian Richard Devaney has become prodigious in expanding what synthesizer-driven music can evoke, such that his output is as much an extrasensory journey as it is an all-too-human destination. With that experience in mind, he wrote the band's fourth album - the spectral, spacious Dance Called Memory - in the most humble of ways: chipping away at melancholia by sitting around and strumming his guitar. Nation of Language's first two albums, Introduction, Presence (2020), and A Way Forward (2021), came as pandemic godsends: gorgeous, relatable soundtracks to our collective doldrums. But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade's Album of the Year. With that release, Pitchfork wrote that the band "are learning what it means to get bigger and better." This is Devaney's calling: soulfully translating individual despair into a comforting, collective mourning. The single "Now That You're Gone," which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather's tragic death from ALS, and his parents' role as caretakers for this ailing friend. At its heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). "What's so great about Nick is his ability to make us feel like we don't need to do what might be expected of us," says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette - sampling chopped-up drum breaks on "I'm Not Ready for the Change" for a touch of Loveless-era My Bloody Valentine or smashing all of the percussion of "In Another Life" through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. "There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I've been drawn to at different points. I've read about how Kraftwerk wanted to remove all the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human," Devaney says. "As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators I'm focusing more on the human condition, and I need the underlying music to support that_ Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy."

Composed by vibes legend Roy Ayers for the soundtrack of the 1973 film starring Pam Grier, Coffy was a jazz chart hit. The music, an inventive mix of heavy funk and soul-jazz, with vocal highlights from Dee Dee Bridgewater, perfectly encapsulated Grier's vigilante character.

Heavenly return! As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged lyrics with shamelessly joyful pop music. The band comprises original members Amelia Fletcher, Peter Momtchiloff, Cathy Rogers and Rob Pursey, who are now joined on drums by Ian Button. An important element of the Heavenly story was the loss of Mathew Fletcher, who took his own life just before the fourth album was released. It took Amelia, Peter, Cathy and Rob a long time to get over the loss; maybe it took even longer to find a drummer as good as Ian. 'Highway To Heavenly' shares its musical recipe with the band's first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space. The new songs are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold 'masculine energy' that is making the world a miserable, aggressive place today. It's all pop here, but Highway To Heavenly has a huge range of tones and moods. Heavenly have recently enjoyed a huge resurgence of interest from a younger generation of fans, who have cottoned on to Heavenly's music, but also embraced the band's inclusive version of feminism. The new Heavenly have played a number of sell-out shows in the past couple of years, where older fans have mingled with new devotees. Still our love is Heavenly!