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Taylor Swift’s new studio album Midnights is available everywhere on October 21st. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life.

Each Vinyl Album Includes:

- Unique marbled color vinyl disc
- 13 Songs
- Collectible album jacket with unique front and back cover art
- Unique marbled color vinyl disc
- Collectible album sleeve (each side features a different full-size photo of Taylor)
- Full-size gatefold photo
- A collectible 8-page lyric booklet with never-before-seen photos

In the Detmold area (Westphalia, Germany), there wasn‘t much going on for metal fans in the first half of the eighties. Fortunately, the members of two bands met in 1982 in a chip shop and recognized their common preference for hard music by their long hair, leather jackets and moustaches, which were good manners at that time. In this moment SACRAFICE were born, who subsequently became local heroes - of course influenced by the NWOBHM that was just spilling over into Germany, but also by the usual suspects like Black Sabbath, Deep Purple, Rainbow or Kiss, as well as Judas Priest and the early Accept.

Two unusual choices were made at once: In the spirit of Def Leppard or Led Zeppelin, the band name was deliberately changed - i.e. NOT Sacrifice, but Sacrafice. And they decided not to make the typical demo tape, but a 12“ EP on their own. This one is called „The First Experience WIth The Unknown“ and can be bought here and now on Discogs for 120 Euro and more used.... But already the book „Heavy Metal Made In Germany“, which was published in the nineties via Iron Pages, lists the record as „Top German Metal Rarity“.
No wonder, because the quite aggressive heavy rock and metal knows how to please even today - or maybe especially today - and reminds us of the upbeat mood of the German metal scene in the first
half of the eighties. This is also true for the three live tracks, which have been elaborately restored in days of work.

Another house number are the tracks of the follow-up band TranQuilL
(that‘s right, that‘s the correct spelling). The mostly overlong songs can be classified as heavy prog. Due to various circumstances these pearls remained (as good as) unreleased. Again, a lot of time and work was invested in restoring and mastering these private studio recordings (there are six long TranQuill songs on the CD version, while there was only room for two tracks on the LP, without losing sound quality).
As always, the printed inlay contains liner notes (actual interview with a former band member). Photos and other illustrations.
The CD version of the Golden Core re-release has already received very good reviews in Rock Hard and Good Times, among others!

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

First Two Pages of Frankenstein" ist ein spannendes neues Kapitel in der belebten Diskografie der Band. Die 11 Songs wurden von The National in den Long Pond Studios in Upstate New York produziert und beinhalten Gastauftritte von Taylor Swift, Phoebe Bridgers und Sufjan Stevens. Der Nachfolger des 2019 erschienenen "I Am Easy To Find" geriet zunächst ins Stocken als Leadsänger Matt Berninger "eine sehr dunkle Phase durchlebte, in der mir überhaupt keine Texte oder Melodien einfielen, und diese Phase dauerte über ein Jahr. Obwohl wir schon immer ängstlich waren und uns oft stritten, wenn wir an einer Platte arbeiteten, war dies das erste Mal, dass es sich so anfühlte, als ob die Dinge wirklich zu einem Ende gekommen wären". Stattdessen haben es The National "geschafft, wieder zusammenzukommen und alles aus einem anderen Blickwinkel anzugehen, und dadurch sind wir in einer gefühlten neuen Ära für die Band angekommen", so Gitarrist/Pianist Bryce Dessner, zu dessen Bandkollegen auch sein Bruder Aaron (Gitarre/Piano/Bass) sowie die Brüder Scott Devendorf (Bass, Gitarre) und Bryan Devendorf (Schlagzeug) gehören. "First Two Pages of Frankenstein" synthetisiert die neue Chemie in der Band. Entstanden ist ein Album, das eine wunderbare Balance zwischen dem eleganten Sound und den eigenwilligen Impulsen von The National hält. Tracks wie "Grease in Your Hair" und "Ice Machines" wurden 2022 auf Tour gespielt bevor sie aufgenommen wurden, so dass die Band das Material in Echtzeit auf der Bühne während der Konzerte verfeinern konnte. "Für mich hat die Kraft dieser Platte mit der Absicht und der Struktur der Musik zu tun, die auf eine Menge zufälliger Magie trifft", sagt Aaron Dessner.

Strictly Limited Red Coloured Vinyl Edition

First Two Pages of Frankenstein" ist ein spannendes neues Kapitel in der belebten Diskografie der Band. Die 11 Songs wurden von The National in den Long Pond Studios in Upstate New York produziert und beinhalten Gastauftritte von Taylor Swift, Phoebe Bridgers und Sufjan Stevens. Der Nachfolger des 2019 erschienenen "I Am Easy To Find" geriet zunächst ins Stocken als Leadsänger Matt Berninger "eine sehr dunkle Phase durchlebte, in der mir überhaupt keine Texte oder Melodien einfielen, und diese Phase dauerte über ein Jahr. Obwohl wir schon immer ängstlich waren und uns oft stritten, wenn wir an einer Platte arbeiteten, war dies das erste Mal, dass es sich so anfühlte, als ob die Dinge wirklich zu einem Ende gekommen wären". Stattdessen haben es The National "geschafft, wieder zusammenzukommen und alles aus einem anderen Blickwinkel anzugehen, und dadurch sind wir in einer gefühlten neuen Ära für die Band angekommen", so Gitarrist/Pianist Bryce Dessner, zu dessen Bandkollegen auch sein Bruder Aaron (Gitarre/Piano/Bass) sowie die Brüder Scott Devendorf (Bass, Gitarre) und Bryan Devendorf (Schlagzeug) gehören. "First Two Pages of Frankenstein" synthetisiert die neue Chemie in der Band. Entstanden ist ein Album, das eine wunderbare Balance zwischen dem eleganten Sound und den eigenwilligen Impulsen von The National hält. Tracks wie "Grease in Your Hair" und "Ice Machines" wurden 2022 auf Tour gespielt bevor sie aufgenommen wurden, so dass die Band das Material in Echtzeit auf der Bühne während der Konzerte verfeinern konnte. "Für mich hat die Kraft dieser Platte mit der Absicht und der Struktur der Musik zu tun, die auf eine Menge zufälliger Magie trifft", sagt Aaron Dessner.

Spider-Man: Homecoming is a 2017 American superhero film based on the Marvel Comics character Spider-Man. The movie was directed by Jon Watts and the soundtrack composed by Michael Giacchino. Besides the original motion picture soundtrack by the award-winning composer, the score also features the theme from the 1960s cartoon series composed by Paul Francis Webster and Robert “Bob” Harris.

The film follows a young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, who begins to navigate his newfound identity as the web-slinging superhero. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man
– but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

Spider-Man: Homecoming is available as a limited POP-UP edition of 2000 individually numbered copies on blue coloured vinyl with an etch on Side D. The vinyl package includes a 4-page booklet and movie poster.


[a] A1. Theme (from “Spider Man”) [Original Television Series]

Brand new album by The Church, their first in 6 years! Presented in deluxe card gatefold sleeve CD with 16 page booklet and as limited gatefold purple double vinyl LP! "Let it first be said that the title track of The Hypnogogue, the first new album from The Church in six years, is one of the most breath-taking singles they've released in years, a darkly psychedelic six minutes that slowly spirals into a menacing descent. That alone is a reason to keep this one on your radar; the Australian neo-psych band have been going for over 40 years, with around a half dozen classic albums and zero bad ones, yet their ability to keep evolving and uncovering new aspects to their sound and approach only serves as a reminder of how vital they remain after four decades". After an epic return to homeland stages, Australian psych-rock legends The Church announce their forthcoming studio album The Hypnogogue. Following on from 2017's widely acclaimed Man Woman Life Death Infinity, the Sydney band's 27th album was recorded just before the world was shut down by the COVID-19 pandemic. Emerging from the darkness is the band's first new studio album in six years and the first to feature the newest line-up led by founder, bassist and vocalist Steve Kilbey. "The Hypnogogue" is the most prog rock thing we have ever done, we've never created a concept album before," says Kilbey. "It is the most teamwork record we have ever had. Everyone in the band is so justifiably proud of this record and everyone helped to make sure it was as good as it could be. Personally, I think it's in our top three records." Picking up substantial international airplay, raising anticipation for the album's release, the digital singles 'The Hypnogogue' and 'C'est La Vie' set the stage for the album's striking science fiction narrative. Kilbey unpacks the themes that tie the album together: "The Hypnogogue is set in 2054, a dystopian and broken-down future. Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight off dreams." This new five-piece line-up is made up of Kilbey along with long-time collaborator, drummer and producer Tim Powles, who's remained a staple across 17 albums since 1994. Joining them is guitarist Ian Haug, formerly of Australian rock icons Powderfinger, who has been with the band since 2013. Touring multi-instrumentalist talent Jeffrey Cain is now a full-time member since the departure of Peter Koppes in early 2020. Completing the line-up, newcomer Ashley Naylor is one of Australia's finest guitarists and a long-time member of Paul Kelly's touring band. Formed in 1980, The Church found early chart success in their homeland, before establishing themselves as an international touring entity, earning a worldwide hit with the single 'Under The Milky Way' from their hit 1988 album Starfish, while their stellar live shows have been deemed 'spectacular' by MAGNET magazine and continue to win the hearts of industry and fans across the world. Often seen as the Godfathers of an Australian psych/prog scene generating such internationally successful names as Tame Impala and King Gizzard And The Lizard Wizard, The Church have gone on to maintain a loyal and far-reaching following as their fanbase has expanded with their evolving sound. Entering their fifth decade as a band, The Church continue to remain a treasured creative force. European tour 2023 - Reviews secured in Mojo, Classic Rock, Uncut, Vive Le Rock, Record Collector, Louder Than War - Press Quotes: "While some may just want The Church to write another "Under the Milky Way", The Hypnogogue's title track is excellent. One of the most anticipated albums of 2023" - Brooklyn Vegan - Treble Zine have named The Hypnogogue one of their most anticipated albums for 2023

Super Deluxe: The Signals Super Deluxe celebrates 40 years with a brand-new Hugh Syme cover & the 2015 remaster on CD for the first time. The album vinyl was cut for the first time at half-speed via DMM & pressed on 180g black vinyl for optimal vinyl quality with new Hugh Syme art in a premium tip-on jacket. A Blu-ray Audio disc features brand-new immersive Dolby Atmos & 5.1 surround mixes by Richard Chycki, the 2015 48kHz 24-bit stereo remaster, new animated visualizers for each song & 2 bonus music videos for “Subdivisions” and “Countdown”. Bonus items include a 40-page hardcover book with new song illustrations and unreleased photos from the Signals Tour, four 7-inches with new art, three lenticulars that transition from the original black & white band headshots into the original album “Digital Man” color headshots, four Signals Tour band lithos, Hugh’s original album cover sketch litho & a double-sided 24-inch by 24-inch poster featuring Hugh’s new art on one side and an outtake photo from the original album cover shoot on the other side. Picture Disc: The first-ever, limited edition Signals picture disc vinyl features brand-new Hugh Syme artwork to celebrate 40 years of the iconic album.


Das Rush-Album ”Signals” feiert 40-jähriges Jubiläum! Zu diesem Anlass lässt eine limitierte Neuveröffentlichung Sammlerherzen schneller schlagen: Am 28. April erscheint eine umfangreiche Super Deluxe Box mit einem brandneuen Hugh Syme-Cover und dem Remaster von 2015 erstmals auf CD. Das Vinyl des Albums wurde zum ersten Mal mit halber Geschwindigkeit über DMM geschnitten und auf 180g schwarzes Vinyl gepresst. Die Blu-ray-Audio-Disc enthält brandneue Dolby Atmos- und 5.1-Surround-Mixe von Richard Chycki, das 48kHz-24-Bit-Stereo-Remaster von 2015, neue animierte Visualizer für jeden Song und zwei Bonus-Musikvideos für ”Subdivisions” und ”Countdown”. Zum Bonusmaterial gehört ein 40-seitiges Hardcover-Buch mit zahlreichen Illustrationen, Original-Bandfotos und mehr. Das volle Paket aus 1LP, 1CD, BluRay, vier 7” Vinyl in der Super Deluxe Box ist limitiert - das absolute Fan-Item!

First ofcial release of previously-unissued Eric Dolphy studio recordings
in over 30 years, including 85-minutes never before released. The
goundbreaking alto saxophonist, bass clarinetst and autst brought us
iconic LPs such as 'Out to Lunch!' and 'Outward Bound'.
The LP package is beautfully designed and includes an exhaustve 96-page
booklet replete with rare and never-before-published photos by Chuck
Stewart, Jean-Pierre Leloir, Val Wilmer, Hans Harzheim, Lennart Steen, Roger
Marshutz and many others, plus reproductons of the original album covers for
Conversatons and Iron Man.
Includes fve essays that cover dierent aspects of Eric Dolphy and this music
by jazz author/scholar Robin D.G. Kelley, Douglas label manager Michael
Lemesre, Japanese Dolphy scholar Masakazu Sato, and co-producers Zev
Feldman and James Newton, plus words by John Coltrane, McCoy Tyner,
Ornete Coleman and Charles Mingus.
Captured afer leaving Prestge/New Jazz Records, and just before recording
the tmeless classic 'Out to Lunch!' album, 'Musical Prophet' is a 3LP set that
contains the under-appreciated masterpieces 'Conversatons' and 'Iron Man'
recorded in New York City on July 1 and 3, 1963. Originally produced by Alan
Douglas- most well-known for his associaton with Jimi Hendrix, but who also
produced classic jazz albums such as 'Money Jungle' with Duke Ellington,
Charles Mingus and Max Roach- the tapes had been stored in a suitcase with
Dolphy's personal belongings and given to Dolphy's close friends Hale and
Juanita Smith just before he embarked on his fateful European trip in 1964.
Deluxe Limited-Editon, 180-gram 3LP gatefold set released exclusively for
Record Store Day's Black Friday Event on November 23, 2018

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators.

Featuring:
Randal Fisher / Flute, Vicky Farewell / Piano, Vocals, Harry Foster / Bass, Vibraphone, Tubular Bells, Vocals Joey Dosik / Organ and Glockenspiel, Vocals, Guilermo E. Brown aka Pw / Percussion, Vocals, Jhan Lee Aponte (TossTones) / Percussion, Vocals, Timpani, Paul Cartwright / Violin, Molly Rogers / Viola, Gabe Noel / Cello, Contrabass, Liza Wallace / Harp, Coco O. / Vocals, Mocky / Compositions, Drums, Vocals, Roland Sh-1000

O for the O Choir :
Nia Andrews, Leslie Feist, Moses Sumney, Durand Bernarr, Eddie Chacon

Recorded at Barefoot Studios, Los Angeles March 6 + 7, 2020.
All songs written by Dominic “Mocky” Salole and published by Heavy Sheet Music/Warner Chappell except "Wishful Thinking" written by Dominic “Mocky” Salole and Matt Corby and "Bora!" written by Dominic “Mocky” Salole, Guillermo Brown, Aponte Poro.

Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris
Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler.

ABOUT MOCKY
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder" and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist and Chilly Gonzales.
In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011, after work in Big Sur on Feist's "Metals", Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials and eccentric working methods collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney.

Whilst in L.A. songs he has written have been sung by Mary J. Blige, Jill Scott and many more and he has collaborated with artists as diverse as Mali’s Bassekou Kouyate and the GZA. His monthly rooftops gigs at the ACE Hotel breathed new life into the LA live scene and Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. I-IV.

After co-producing and co-writing Feist's "Pleasure", Kelela's "Take Me Apart" and Joey Dosik's "Inside Voice", in 2018 Mocky released two albums: "Music Save Me (One More Time)" - a collection of the best of Japan-only/unreleased gems and favorites from his so far digital only "Moxtapes" series and "A Day At United", an instrumental jazz album, recorded in a single day in the legendary LA recording studio United Recording.

In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe (Cowboy Bebop) on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards 2020.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Black Swan is available as a limited edition of 750 individually numbered copies on silver and black marbled vinyl and includes a 4-page booklet.

Growing up in South Korea was difficult for the young Sun-Mi Hong, intent on a musical path but experiencing restrictions and negativity. Drumming became a refuge, a place to escape to. It took over her life and became an obsession for her. The sound and energy was a huge inspiration and helped channel the emotions she was feeling. Surrounded by negativity, criticism of her chosen path and pressure to follow a more secure, traditional career, her persistence and resilience prevailed and she made the move, a little over 10 years ago, to study in Amsterdam, an undertaking full of risk, facing a new culture with barriers in spoken and musical language. Step forward a decade and Sun-Mi has built a formidable reputation in her city, in the Netherlands and beyond, and is fast cementing her position as one of the leading up-and-coming talents on the European scene. Sun-Mi’s new record with her long-running quintet, balances meticulously crafted compositions with investigations into the great unknown of improvised music. Each record she’s released with the quintet up until this point, (First, Second and now Third Page: Resonance), chronicles her life as an artist and her unique path to her goal. Drifting between expressions of warmth and appreciation contrasted with moments of pure passion and catharsis, this is an album that cannot be ignored – it demands your attention and your focussed listening unlike anything else you are likely to hear.

The new album! One of reggae's emerging masters of Reggae / Dancehall & Dubwise production, Alborosie has honed his craft through the creaton of six studio albums (five for Greensleeves). Along the way, he has become the biggest selling European roots reggae artist. His latest album, "Freedom & Fyah" demonstrates his production skill and depth of feel with strong contemporary and authentic reggae jams. All tracks are produced by Alborosie, with most of the songs mixed by the high renown James "Bonzai" Caruso. Featured guests include Ky-Mani Marley on the ballad and first single/video "Life To Me" and Protoje, who have been just voted as best international artist by the Riddim magazine readers, on the track "Strolling" and reggae legends, the Roots Radics band with Flabba Holt on the track "Everything" feat. Pupa Avril. Stand out tracks include "Poser" (which has chalked up already over 1 million YouTube views) and "Rocky Road" which is up to 500K views. "Freedom & Fyah" is availlable as CD-digipak with additional 12-page booklet with printed lyrics and also as LP-vinyl edition.

- 2023 Edition - Pressed on Clear Red Wax - LP housed in an expanded Stoughton tip-on gatefold jacket - Includes fold-out poster, sticker and insert, along with a download card for full album, non-album single B-side "The Cowboy Song" and an unedited October 1978 BBC audio interview with John Lydon // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought. The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release. First Issue has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and "The Cowboy Song." All of which were approved and coordinated with John Lydon and his personal management.

A reissue of Nikolaus Utermöhlen’s »Karlsbad« album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness.

The recordings of this album were made for the "Georgette Meunier" film by Tania Stöcklin and Cyrille Rey-Coquais. Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era.