Search:pai

Nyokabi Kari?ki wrote her upcoming EP, peace places: kenyan memories out next year on SA Recordings, while away from home, Kenya, in the United States, during the pandemic. She found that imagining peaceful, gentle, memories from her 18 years of a childhood in Kenya became an antidote to remedy homesickness and emotional fatigue — and almost naturally, these imaginings evoked a very visceral and creative response within her. From Nyokabi’s childhood home in Nairobi, where her piano, gifted to her at age 8, still sits; to her father’s hometown of K?r?nyaga (‘Ngurumo, or Feeding Goats Mangoes’) and her grandmother’s farm in Kiambu (A Walk Through My C?c?’s Farm); from holidays by the Kenyan coast (‘Galu’ and ‘Naila’s Peace Place’) to a few in Laikipia (‘Equator song’); these places find themselves crystallised in each track of the EP, most apparent through the inclusion of field recordings taken in each respective place; but also in the music and lyricism of the pieces. As she worked on this record, she realised that her mind was not only taking solace in imagining ‘home’ as physical spaces, but also in seeing that ‘home’ was in ancestry, in language and words, in family and friends, in the palpability of her instruments, in harmony but also dissonance, and of course, in music. My album artwork was painted by a dear childhood friend, Naila Aroni, and so I decided to give back in a similar way: by creating a track around her own ‘peace place’. She chose Lamu on the Kenyan coast, a place I’d never been, so I used the video to guide me. In it, she walks along the beach with her best friend, having a conversation that — in the track, we first hear as a unrecognisable ‘yells’, which are actually timestretches of the conversation; framed alongside hyperreal flurries on the vibraphone (played by Chris O’Leary). Then, in the final moments of the song, the conversation is revealed: “Naila, how happy are you?” her best friend asks. “It doesn’t even feel real, It’s surreal,” Naila responds. When I’d heard the audio, the emotion of pure joy & euphoria seemed distilled into the sounds of their voices. And so Naila’s Peace Place is an effort to freeze that moment in time, so we can marinate in the sound of that joy for just a little longer. - Nyokabi on Naila’s Peace Place.

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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














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









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


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





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











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

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

Debut solo album from Julia Kugel (The Coathangers). Limited edition first LP pressing on heartbeat pink color vinyl, includes DL (1500 copies). If you can’t trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA. “You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.” This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices. The name for the project Julia, Julia is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.

Tracklisting 1. I Want You 2. Forgive Me 3. Impromptu 4. Fever In My Heart 5. Words Don’t Mean Much 6. Do It Or Don't 7. No Hard Feelings 8. Big Talkin' 9. Paper Cutout 10. Where Did You Go 11. Corner Town

Some people choose the pages of a diary to spill their innermost feelings
and recount their trials and tribulations - Instead, Chayse Porter has a
palace - It's this metaphorical place where I can go to express myself and
feel safe, he explains
It's this place where you can get all your secrets out in the open and feel at home.
But rather than luxuriate in his regal mental abode, Porter's latest for Earth
Libraries takes listeners on a grand tour, revealing the nooks and crannies of his
heart and mind.Recording on vintage gear and working with producer Brad Timko
redoubles that sense of intimacy, imbuing every take with a bronzy finish. € I've
always really appreciated records that opt for analog, so this one is all just raw
performance, straight to tape, € Porter says. € It gives me time to sit with each
part of the composition, to live more within the song. €
As the album rolls ever forward to its conclusion, the rough edges of the pain and
suffering have softened, and Porter has come to a sense of hopefulness. "It was
very tumultuous to put this album together and express myself openly in this way,
but at the end of the album I'm reassuring myself that there's an opportunity for
growth both personally and interpersonally, having gone through this challenging
time and coming out the other side, € Porter says. At the end of the long and
fascinating tour of Chay's Palace, Porter makes the listener feel the warmth at its
core that he himself has found.
Tracks: Purpling Dawn / Jet Lag / Nobody Wants You (More Than Me) / Penny /
Heat Lamp / Theme from Chay's Palace / Palace Doors / Pacific Inn / Purpling
Dawn Pt. 2 / Blue Star / Yoshi

'Terra' is the debut album of jazz singer Hannah Weiss, the voice of the
Munich native, who grew up in Switzerland, can not only be cool and
warm, it also covers all temperature ranges
Weiss, winner of the BMW Welt Young Artist Jazz Award in 2019, skilfully
balances on nuances and, with her typical timbre, always sounds new and
surprisingly different - so that even without lyrics it is immediately clear what she
singing is about. About fear, about flight and hunger and pain. And about love,
longing and devotion. In the lyrics of her nine-part suite composition 'Terra', which
also gives the album its name, Weiss describes what she sees and what occupies
her mind, she sings about the paradoxically normal coexistence of the most
diverse side by side of emotional states, without judging, and in the knowledge
that that one does not make the other less relevant. On the one hand, Terra
sounds playfully light: a well-composed, beautiful-sounding concept album that
floats past you like a spring breeze.

On their new album Looming, The Spindle, The Pleasure Majenta shape a
terrifying and sublime mix of noise, broken electronics and guitar
feedback that begs to remain untamed
From New Zealand by way of Berlin, these dystopian goth punks take their cues
from the harsh and heavy energy of The Birthday Party, Swans and The Fall
€"casting bummer vibes into the void to create the pain- soaked statement so
many albums want to make but wind up missing the mark.The lead single € Full
of It € fills the screen with flashes of cinematic post-punk savagery up to its ears
in swampy distortion and sleazy funhouse skronk. Velvety € 70s exploitation flick
saxophones hustle with devilish no-wave spaghetti western guitars and a slippery
bassline like a coffin dragged through mud in a grungy post- punk dirge. It's a
waking tour through a dysfunctional late- capitalist bardo where disassociation
becomes an effective coping mechanism for the cyclical, paralyzing grind of
clock- in, clock- out psychosis. € I felt okay when I wasn't myself "when I was
making music or playing onstage, so I decided I would contact myself in this way,
says The Pleasure Majenta's Lawrence Loz Fergus Goodwin. It's a dangerous
game to play.
Tracks: Satellite / Fabric / Sad2say / Smiles Through A Sneer / Anxious Patient /
Osc / Full Of It / It's Ten / Erik Satie / Gardens

Here Comes Shuggie Otis is the debut album by guitarist and songwriter Shuggie Otis, released when he was only 18 years old. Produced and arranged by his father, Johnny Otis, the set features nine original cuts co-written by the pair. The album is evenly divided between vocal tunes and instrumentals. It was this effort that earned him the title of “child prodigy”. The album stands the test of time, since tracks like “Gospel Groove” and “Funky Thithee” are fan favourites to this day.

Here Comes Shuggie Otis is available as a limited edition of 1500 individually numbered copies on orange & gold marbled vinyl.

Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke’s work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018’s Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they’ve been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 12 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke’s mostly English splatter-poetry helps guide into a space that’s about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. The CD version of Lunatic Asylum features two exclusive bonus tracks. It was released in April 2022. TRACKLIST 1/Good Morning! 2/Head 3/I Ghore Es Gloeggli 4/Mood Swings 5/Damage Control 6/Happiness to Go 7/Pain is a Pain 8/Il y a des Enfants 9/The Lived Body 10/Ah-Ah-Ah 1921 11/Mika the Dog 12/Tuba Manifesto

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

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

For Fans of Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard etc. comes this 45 on Colemine Records, featuring Alanna's most-streamed track "Fall In Love Again", produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen.

BLACKFIELD V - MARKING THE BANDS' RETURN TO FULL
COLLABORATIVE MODE.Blackfield is the collaboration between Israeli
songwriter & musician Aviv Geffen & British musician & producer Steven
Wilson
'Blackfield V' signalled a return to the full partnership that made the first two
albums such firm favourites with fans, hinted at by the reprisal of the medicine
bottle in the artwork from their first album.
The pair makes for a formidable musical force; Geffen has worked with legendary
producers Tony Visconti & Trevor Horn, has played live with U2 & Placebo & is
currently a judge on the Israeli TV show 'The Voice'. Wilson, leader of the hugely
influential band Porcupine Tree, has embarked on a highly successful solo career,
achieving 3 UK top 40 albums & 4 Grammy nominations.
Written & recorded over a period of 18 months in both Israel & England, 'Blackfield
V' contains 13 linked songs that form a flowing 45- minute ocean themed song
cycle. With the pair expertly handling vocals, guitars & keyboards, they brought in
Tomer Z from the Blackfield band on drums, Eran Mitelman on keys & string
arrangements were performed by the London Session Orchestra. 'Blackfield V' is
a powerful journey through catchy melodies, lush arrangements & stunning
production, with legendary producer / engineer Alan Parsons working on three of
the album's key tracks.
'Blackfield V' is available on Black LP via Kscope.

BLACKFIELD V - MARKING THE BANDS' RETURN TO FULL
COLLABORATIVE MODE.Blackfield is the collaboration between Israeli
songwriter & musician Aviv Geffen & British musician & producer Steven
Wilson
'Blackfield V' signalled a return to the full partnership that made the first two
albums such firm favourites with fans, hinted at by the reprisal of the medicine
bottle in the artwork from their first album.
The pair makes for a formidable musical force; Geffen has worked with legendary
producers Tony Visconti & Trevor Horn, has played live with U2 & Placebo & is
currently a judge on the Israeli TV show 'The Voice'. Wilson, leader of the hugely
influential band Porcupine Tree, has embarked on a highly successful solo career,
achieving 3 UK top 40 albums & 4 Grammy nominations.
Written & recorded over a period of 18 months in both Israel & England, 'Blackfield
V' contains 13 linked songs that form a flowing 45- minute ocean themed song
cycle. With the pair expertly handling vocals, guitars & keyboards, they brought in
Tomer Z from the Blackfield band on drums, Eran Mitelman on keys & string
arrangements were performed by the London Session Orchestra. 'Blackfield V' is
a powerful journey through catchy melodies, lush arrangements & stunning
production, with legendary producer / engineer Alan Parsons working on three of
the album's key tracks.
'Blackfield V' is available on Black LP via Kscope.

A decade is a long time in music, but it feels less epic when the music in question is timeless, picturesque, and immersive. Founded in London, run from Bali for a period, and now based in Ibiza, NuNorthern Soul has grown from humble roots to become one of the most popular outlets for Balearic music on the planet.

NuNorthern Soul started in the late 1990s, long before the label launched, NuNorthern Soul was a regular Sunday session in a bar in Chester, UK where label founder Phat Phil Cooper and school friend Jim Baron (Ron Basejam, Crazy P, JIM) sat behind the decks and played laidback, eclectic musical selections to wind down the weekend. The name was suggested by one of the event’s regular punters, who likened the community feel of the event to his experiences as a Northern Soul dancer.

Fast forward to 2011. Following a move to London, Cooper was introduced to Ben Smith, a singer-songwriter and producer whose music he’d long admired. After bonding over a few pints of Guinness, Smith offered to hand over a hard drive full of unreleased tracks; together, the pair put together what would become the NuNorthern Soul label’s first ever release: a fine album of beautiful, boundary-free music entitled The Movedrill Projects.

Another EP from Smith, Dedications to the Greats, followed in early 2013, with the sometime Fug and Akwaaba band-member recording emotive, life-affirming cover versions in his signature style. It was followed by an EP of opaque, sunset-ready songs from Ragz Nordset, and NuNorthern Soul was on its way. While the label has subtly moved around musically since, offering up EPs and albums that incorporate elements from a multitude of becalmed and blissful styles, the core ethos remains the same. Significantly, those early Ben Smith and Ragz Nordset releases still stand up to scrutiny all these years on.

Smith has remained a big part of the NuNorthern Soul family ever since, and it’s fitting that two of his tracks – the stunning, undulating downtempo epic ‘Over Land & Sea’, from improvised 2019 album From The Ash, and Jonny Nash’s glistening, shuffling 2015 rework of ‘Hold On To It’ – are featured on this 10th birthday celebration of the NuNorthern Soul story so far.

It’s right, too, that Jim Baron, whose stints behind the decks with Cooper in Chester began the NuNorthern Soul story, also makes two appearances. His chugging, jangling, wide-eyed 2014 Ron Basejam rework of Ragz Nordset’s ‘You Started It All’ – a track that has so far racked up over three million streams on Spotify – was an early label hit, while his fragile, softly spun masterpiece as JIM, ‘Whisper in the Wind’ (featuring none other than Ben Smith on guitar), features here via a deliciously stretched-out, sunrise-ready remix from James Holroyd under his Balearic-friendly BEGIN guise.

Sentimentality aside, the success of NuNorthern Soul is rooted in Cooper’s ability to pick music to release from a wide variety of artists that fits the label’s colourful, atmospheric, and tactile sonic vision. This lovingly curated box set is testament to that, with immersive, yearning efforts from veteran musicians such as Jon Tye (here appearing as Captain Sunshine, via the breath-taking ‘The Oceans Inside’) and the late, great Ryo Kawasaki (remixed by Mancunian, former Body & Soul NYC resident DJ Andi Hanley) being joined by wonderfully on-point productions from relatively recent signings such as Torn Sail (the Balearic folk swell of ‘Disconnected’), George Koultalieris, My Friend Dario and Tambores En Benirras.

10 Years, 5 EPs, 10 tracks, exclusives, previously unreleased and hard to find NuNorthern Soul treasures. Packaged in a full colour commemorative designed box with full colour inner sleeves. 1 track per side of vinyl for maximum audio pleasure. Comes with 4 page NuNorthern Soul insert. Limited edition.

Monica : The tracks on Stop That Girl were recorded live in an old mill and
featured musicians who had played on recordings on the Postcard label
and in groups from that era - Aztec Camera, The Blue Nile, Bourgie
Bourgie, Jazzateers, Love & Money, Paul Quinn & The Independent Group,
among others - The album is a mix of original material and some covers
(Orange Juice, Captain Beefheart, Gene Clark, The Velvet Underground)
Monica Queen came to prominence in Thrum, recording tracks with Edwyn
Collins and releasing an album on the Fire label. She has released albums under
her own name on Creeping Bent and as part of Tenement & Temple as self
releases. Monica is perhaps best known for singing on the Belle & Sebastian
single Lazy Line Painter Jane and has performed live with The Jayhawks, The
Pogues, and James Grant.

KR3 Records, is proud to welcome – Shuya – to its roster. The Japanese producer whose influences come mostly from the Noise Scene, began his sonic journey as a singer and guitarist with the experimental avant-garde group called Qujaku. With his s/h/u/y/a solo project he keeps a noise-industrial attitude to his electronic music productions. The beginning of his collaboration with KR3 was therefore inevitable. The artist and the label share a mutual approach to sound, with the processing of raw materials into scratchy, deep and mental beats playing a key part in their interpretation of Techno. The Sleeper EP – is the first vinyl release under this pseudonym. The cover art is curated by the designer Pablo I Prada, who says about his works: “I try to capture human evil in my paintings”. With his music, Shuya does exactly the same. His productions are a disturbing mixture of noise-techno that perfectly evokes the infernal spirit of human existence that also appears in the artwork. The Sleeper, is a cerebral, red-painted sonic assault. The intro and outro are composed by recordings of his voice and guitar riffs that show us how deep is his connection to his artistic origins. Written & Produced by Shuya Onuki Artwork by Pablo I Prada

..Zeit für ein neues gurD Album!
Nach 8 Jahren seit dem letzten regulären Studioalbum war es wieder an der Zeit, die Gitarren sprechen zu lassen!
Vollgepackt mit rasanten Thrashern wie "Merry Go Round", "Devil's Bread" oder "Taste For More" ist auch Platz für groovige Riff-Monster, für die die Band bekannt ist.

Tracks wie "FEAR" oder "I Like The Pain" beweisen, dass sie es immer noch verstehen, ein solides Fundament aus schweren Riffs und stampfenden Drums zu legen.

Der letztgenannte Song kann als Hommage an die vergangenen Touren mit ihren guten Kumpels von Pro-Pain verstanden werden und beschreibt die Freude und den Schmerz des Unterwegsseins.
Auf dem Album gibt es mehrere Gastauftritte der ehemaligen gurD-Gitarristen Tommy B. (er spielte auf den ersten beiden Alben) und Bruno Spring (er war von 1999-2004 in der Band). Es war ein großes Vergnügen, sie erneut im Studio zu haben.

"Hallucinations" wurde wieder in V.O.s eigenem Little Creek Studio aufgenommen, wo auch Bands wie Destruction, Burning Witches, Pro-Pain und natürlich Poltergeist einen Großteil ihrer Alben aufgenommen haben.

..Zeit für ein neues gurD Album!
Nach 8 Jahren seit dem letzten regulären Studioalbum war es wieder an der Zeit, die Gitarren sprechen zu lassen!
Vollgepackt mit rasanten Thrashern wie "Merry Go Round", "Devil's Bread" oder "Taste For More" ist auch Platz für groovige Riff-Monster, für die die Band bekannt ist.

Tracks wie "FEAR" oder "I Like The Pain" beweisen, dass sie es immer noch verstehen, ein solides Fundament aus schweren Riffs und stampfenden Drums zu legen.

Der letztgenannte Song kann als Hommage an die vergangenen Touren mit ihren guten Kumpels von Pro-Pain verstanden werden und beschreibt die Freude und den Schmerz des Unterwegsseins.
Auf dem Album gibt es mehrere Gastauftritte der ehemaligen gurD-Gitarristen Tommy B. (er spielte auf den ersten beiden Alben) und Bruno Spring (er war von 1999-2004 in der Band). Es war ein großes Vergnügen, sie erneut im Studio zu haben.

"Hallucinations" wurde wieder in V.O.s eigenem Little Creek Studio aufgenommen, wo auch Bands wie Destruction, Burning Witches, Pro-Pain und natürlich Poltergeist einen Großteil ihrer Alben aufgenommen haben.

This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer
continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within
the European electronic music realm. Over the past decade he has assembled a repertoire of
music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has
made a number of “electronically”-aided works that never seem to make “electronic-ism” the main
selling point or raison d'être. Rohrer understands that we inhabit a networked media landscape
that no longer sees a novelty value in every synthetic or technological sound, and by realizing
this, he makes a music that fully engages with the present without completely disregarding the
exciting speculative sensibility that has allowed electronic music to solidify into a tradition. His
latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be
achieved by conceptualizing musical passages as living, breathing entities rather than as
signposts to some still distant reality.
Maybe more so than any of Rohrer’s solo records to date, Hungry Ghosts is the one that
most unambiguously displays the artist as a kind of inspired sound “cultivator” or landscaper
rather than just a straightforward “producer”. The emphasis here seems to be biological growth
processes rendered in musical form, and in fact some track titles namechecking the biodiversity
of the external world (“Slow Fox”, “Ctenophora”) and neurochemistry (“Serotonin”) lend some
additional credence to this interpretation.
As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist
and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the
way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or
compressions of time. The percussive portions and other ambiences merge together in such a
way that the latter seems like a kind of shifting, holographic camouflage for the former; an effect
which makes for a greater than usual number of shifts in mood. Rohrer’s already established
ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also
surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences
on the tracks “Human Regression” and “Bodylanguage”), reverence (the optimistic organ swells
and steady sequencer guiding “Ceremonism”), and meditative focus (the slow-motion spectral
waltz of “Treehouse”). Also notable here are very brief etudes, such as “Window Pain,” whose
dark, lush ebb and flow actually seem tailored to repeated or looped listening.
It’s particularly remarkable that almost all of this material is recorded solo and in a “live /
no overdubs” mode, given how much it feels like well-rehearsed ensemble playing, and given the
impeccable timing involved in continually exchanging the sounds at the very forefront of the mix.
And here we come full circle to the idea of “electronic music” mentioned at the beginning here:
instead of making us feel that we are in the presence of some fully-realized form brought back
from “the future,” Rohrer invites us instead to witness fascinating processes of transition and
mutation, and to value them for what they are now as much as for where they are headed.

(Remastered)

1st Time EVER on LP for the 40th Anniversary Remasters
‘Theatre of Pain” is certified 4x platinum in the US and their first top 10 album – making it all the way to #6. Includes the timeless classic, with the record-setting video “Home Sweet Home” and first top 40 hit “Smokin’ In The Boys Room” (#16)

Egyptian artist Hassan Abou Alam debuts on Nehza Records. On Ice, the producer and DJ delivers a 4-track collection of unusual textures that glide through multiple soundscapes, including techno, breaks, bass and unclassifiable noise.

The opener "Shmoolaire" starts with a skittery drum pattern before descending into a squelchy bassline while squeaky vocal clips snake through the track. It's weird, wonky and the perfect dancefloor curveball. Dominated by massive drums, the title track blends a sultry vocal with bleepy percussion, conjuring a sticky atmosphere. Things get spooky on "Hollow In C#" as Hassan pairs a voice saturated in reverb with chugging drums and eerie pads. Freaky but fierce. The closing track "Lost In A Jar Of Thyme" ends on a distinct note. A warbling bassline slithers throughout the track as siren-like sound FX and hyperactive drums evoke tension. A true artist aligned with the vibe of Nehza Records.

Hassan Abou Alam has spent the last decade exploring several sound palettes and genres, from breaks to techno to bass. Today, his curiosity is unwavering. Hassan produces music with a hybrid setup of analog and digital instruments, conveying organised but compelling chaos that's won him legions of fans worldwide.

Oslo's Ultima Festival for contemporary music in 2014. The idea was to give revered Norwegian experimental electronic musician Helge Sten, aka Deathprod, access to seminal avant-garde composer Harry Partch's self-designed, custom-made, specialized, invented instruments - an orchestra tuned to just intonation, using up to 43 intervals instead of the standard 12 for the most commonly used Western equal temperament. An artist with a 30+ year career and an uncompromising reputation that reflects the emotional specificity of his uneasy, yet compelling sound, maintained throughout his expansive discography, Sten was an intriguing choice for such a project. Although he attended art school, training in electronic music and sound art, he had little experience with acoustic instruments and can neither read nor write music notation. Yet he's been engaged with Partch's music, and outsider art more generally, since he was a teenager. His resulting piece/composition for the project was originally intended only for performance by Cologne-based Ensemble Musikfabrik, for a series of concerts in five European cities between 2015 and 2018. It's Musikfabrik that undertook the painstaking, expensive process of building an entire set of the composer's creations - the second only to the originals built by Partch himself. They are the professional musicians and virtuosic instrumentalists that had to re-train and re-educate on these unknown and experimental sound sculptures in non-standard tunings. And they house this large, gorgeous physical instrumentarium and deal with the enormous logistics of working with it, sometimes shipping the fragile pieces to other locales via semi-trucks or ships. Because of such monumental efforts, Musikfabrik are notoriously guarded with recordings of the instruments. And rightly so. They're the only ones allowed to perform on them, too. But Sow Your Gold isn't Musikfabrik playing. Instead, Sten spent days and nights alone with the instrumentarium in Cologne. He played the instruments himself while recording, layering the recordings and editing without effects to compose an `audio score' for Musikfabrik to work from in order for the ensemble to perform the piece. (Partch also regularly worked this way, although he would transcribe afterwards. Likewise, Sten worked with a professional arranger to create a detailed score, too.) So, that makes Sow Your Gold an even less likely rarity - partly why its release comes seven years after its creation. If you ask Sten about the album's title, he'll point you to the text he borrowed it from - Michael Maier's Atalanta Fugiens by H.M.E. De Jong, a 1969 study of a 1617 book of alchemical emblems - and notable passages dealing with alchemy, chemistry, and agriculture, all transformative processes. And while that may sound complicated, his takeaway is simple: "You have to break something down to create something new," - a lesson he felt related strongly to his own musical process, especially in this project. So, while Sow Your Gold in the White Foliated Earth is a piece written for specific, oddly tuned, extremely rare and unusual instruments, and for a certain ensemble - namely, some of the finest contemporary musicians in Europe - Sten grew fond of the audio score, recognizing it as coming directly from the creative process in its purest, most natural form. And so from a foliated earth, where obscure tradition, treasured scarcity, immense effort, and patient certainty layer and criss-cross, comes rugged gold, polished to shining by one outsider for another.

New edition on Opaque Cream Vinyl, (CLMN12044LPC3) is for Indies only. For Fans of: Menahan Street Band, The Budos Band, Antibalas, El Michels Affair. The Sure Fire Soul Ensemble are definitely on a roll coming off of their third LP, Build Bridges, which debuted at #1 on Billboard's Contemporary Jazz Chart. Their new and fourth LP, Step Down, is a direct reflection of the heavy times they were written and recorded in. Covid-19, two Presidential impeachment trials, the George Floyd murder and resulting social unrest, a seditious attempt to subvert the democratic process at The Capitol… With titles like Step Down, The Other Side, Time To Rebuild, Omnificent, Love Age, and In Common, SFSE uses their music to beautifully paint a picture of societal woes, but also points toward the solution and a better world. Heavy Cinematic Soul, spiritual Jazz-Funk, upbeat Afro-Funk, and deeply introspective rare-groove cuts lace this ten-track transmission vessel. SFSE is deeply defined by the sum of their influences, but always have their eye focused beyond the horizon as well. We think this album will capture your heart immediately, but also provide the depth for discovery upon repeated listens. SFSE have made a true statement here, and we are very proud to present Step Down to the world.

Basslines like a clumsy, exuberant puppy. A braid of guitar notes tickling your neck. The jittery buoyance of a marimba, so cartoonish you can picture its unblinking technicolor eyes. A snare that cracks like every friend knocking on your door at once. These are the fragmentary beats and visions that Josh Diamond and Eric Copeland spent the last two years exchanging, the magnetic, romantic, completely unashamed chunks stacked into the bubbling delight of "Riders on the Storm." These two are, yes, known for vastness, transcendence, and suffocation. Eric is a founding member of Black Dice, weaponizers of volume, misdirection, and alien language. Josh is a founding member of Gang Gang Dance, whose haunted, murky explorations drag listeners to infinite, irreversible revelations. Given these pedigrees, it's natural to anticipate their collaboration as an itchy, opaque monolith. Within the shit and terror of 2022 it's even understandable to yearn for something like that. But "Riders" with its light heart and wiggle and squirm is actually the record we need. "It's intentional," confirmed Josh of the record's lightness: "just wanting to make the opposite of what's going on outside." Eric reinforced this feeling of liberation and inversion, recalling the freedom of sharing unfinished ideas, of trusting Josh's creativity. "Nobody was vying for anything," he explained, "we were just trying to do it for each other." The completed exchange of sound unrolls like a laughter-filled conversation, Josh and Eric each banking on the other's improvements and re-configurations. The most remarkable thing about this trust, this generosity, is how their pair have managed to invite listeners into it, making everyone a part of this free-spirited dance. "Riders on the Storm" is the first full length collaboration between Josh Diamond and Eric Copeland, following their contribution to Mary Staubitz and Russ Waterhouse's 2020 `Distant Duos' project. It was recorded and mixed with the guidance of Ivan Berko (Hidden Fees, Ghost Exits). In addition to their work with Black Dice and Gang Gang Dance, Eric and Josh are both solo artists. Diamond released his debut solo album, "Seek Rips," in 2021. Copeland released his 16th solo album, "Spiral Stairs," in 2022.

“I had to write myself back into existence,” says Jessie Baylin. “I’d been feeling lost, empty, unsure if I’d ever make music again, and I think this album came along to remind me of who I really am, of who I could still become.” Indeed, Jersey Girl is more than just another record for Baylin; it’s a radical act of self-actualization, a moving work of reflection and rebirth from an artist who’s spent the better part of her adult life running from her roots. Written and recorded with GRAMMY-winning producers Daniel Tashian and Ian Fitchuk (Kacey Musgraves, Birdy), the collection marks Baylin’s first release since the passing of her longtime collaborator Richard Swift, whose influence looms large here even in his absence, and it signals the start of a profound new chapter, one marked by love and empathy for the face staring back in the mirror. The songs are lush and dreamy here, drawing on a hazy palette of warm guitars and vintage keyboard tones, and Baylin’s performances are nothing short of mesmerizing, her tender voice front-and-center in the mix as she grapples with guilt and shame, pain and healing, purpose and identity. Baylin’s the first to tell you this wasn’t an easy record to make—in fact, it wasn’t a record she intended to make at all—but sometimes the biggest breakthroughs come from the most unexpected places. “I had to be tricked into writing these songs,” Baylin confesses, “but it was a good kind of trick. I didn’t realize what was happening until I was already in the midst of it, and that turned out to be exactly what I needed.”

Glenn Fallows and Mark Treffel released their first album, ‘The Globeflower Master Vol. 1’, on Mr Bongo in September 2021. With its lush, warm and timeless productions paying homage to classic 60s and 70s soundtrack composers, it was very well received and struck a chord with the scene’s connoisseurs. Louder Than War emphatically stated, "It’s impossible not to like The Globeflower Masters Vol. 1.”, with Gigwise echoing that praise “slickly compelling retro vibes”.

The Globeflower Master Vol. 2 is the slightly edgier and more grown-up sequel to Mark and Glenn's 2021 debut album. For this excursion, the Brighton-based duo wanted to lean a little further into their European film soundtrack influences, with particular inspiration mined from the works of Stefano Torossi, David Shire, and Roger Webb. This expansion of their sound builds upon the rich tapestry of cinematic funk à la David Axelrod, Serge Gainsbourg and Morricone that fashioned Vol. 1. Here the arrangements, melodies, and harmonies have been refined; only what is needed is left. Pulled into its vortex for the ride. This record doesn’t pull any punches.

The recordings are drenched in visual imagery; they stimulate the senses and invite the imagination to roam. Ethereal, hazy memories of lost summers are triggered; the beauty of listening to music when driving along a deserted road in the Italian countryside lined with cypress trees heading towards the sun, and beyond. As the musical journey progresses, we even take a voyage to another planet. Whether these memories are real or constructed recollections of scenes from film and television, the tracks evoke a feeling of nostalgia and comfort. Like all the best music, 'The Globeflower Masters Vol. 2' takes us out of ourselves even if it's only temporarily.

To consolidate the shape of the sound, drummers Timmy Rickard and Ollie Boorman (who also featured on Vol. 1) and John Maiden (Tricky collaborator) sprinkled their magic and forged their stamps onto the recordings. Collaborating with other talented musicians contributed to the picture Mark and Glenn wanted to paint. The ‘Globeflower Master Vol. 2’ is a fitting tribute to the music they love and care deeply about and a glorious addition to their musical world.

Now available on vinyl, Heartmind is Cass McCombs' biggest album in
years, garnering the best reviews of his career to date
UNCUT ALBUM OF THE MONTH - "One of the most impressive bodies of work of
the century so far."
MOJO ALBUM OF THE MONTH - "On a mission to find out where the heart and
mind intersect.....there is real emotional impact here."
Songs like "Karaoke" are a god-level burst of powerpop perfection, as fetching as
anything Cass has ever cut: Cass triangulates a perch of his very own out among
The Go-Betweens, The dB's, and The Cure,and vibrates there, a beacon. And then,
of course, there is the song's playful if painful lyrical conceit — the lover who is
making all the sacred motions of commitment but whose feelings may be no
more deep or real than someone simply reading the lyrics for "Vision of Love" or
"Stand by Your Man" from some crowded bar's TV screen.
Cass recorded these songs in multiple sessions on both coasts, in Brooklyn and
Burbank. The great Shahzad Ismaily not only cut the staggering "Unproud
Warrior" and four others here but also played lots of bass. Buddy Ross tracked
"New Earth," a paean of post- humanity renewal with several sharp wisecracks.
Ariel Rechtshaid — now a dozen years into his collaboration with Cass, which
began with 2009's Catacombs—captured Cass' scintillating guitars on "Belong to
Heaven," a thoughtful consideration of what we all lose when we lose an old
friend to the inevitable end. The steadfast Rob Schnapf (who previously produced
McCombs' ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd
(yes, that one) offers harmonies, while her beau Cactus Moser provides some lap
steel. Joe Russo, Kassa Overall, Danielle Haim, Nestor Gomez are featured on the
album, too.

Whether original or discovered, songs have always come into my life out
of need - I think every song in this record is about a beginning hidden in
an ending, hidden reclamations of ways I've disappointed myself
The record opens with Backup Plan… because I think being absolutely and freely
myself was always stupidly my back up plan. If I couldn't succeed at being the
person I was pretending to be, if I couldn't want the things I'd been pretending to
want, only then would I give myself permission to just be me. Then came Thérèse
and Mermaid Bar - Thérèse is about a misunderstood girl trapped in a painting
and Mermaid Bar is about a girl who tries to end her life by jumping into the
Hudson River and instead becomes a mermaid. Bloomed Into Blue was originally
a poem I had written with a friend in high school called the B-Word Muse. It was a
tribute to Ariel, to Eddie Sedgwick, Marie Thérèse, and so many more… Women
who were always the subject of art and not the creator. Worthy of being spoken
about but not worthy of being listened to. This record reckons with childhood in
Sweet Tooth and Driver, with regret in Luna Moth, Crazy Kid and Sticky Little
Words, with anger in South Elroy, Restless Moon and Over.Above all this record
wants to be about rebirth and acceptance.I'm crawling back to myself. Thank you
for watching- Maya Hawke
LP Translucent Orange Vinyl Tracks: Backup Plan / Bloomed Into Blue / Hiatus /
Sweet Tooth / Crazy Kid (featuring Will Graefe) / Luna Moth / South Elroy /
Thérèse / Sticky Little Words / Over / Restless Moon / Driver / Mermaid Bar

In a world hurtling towards new frontiers of horror on a daily basis, there’s precious little time for pause. For the self respecting artist, the only reasonable solution is psychic warfare. Such is the terrain of Petbrick on the titanic and transformative Liminal. Here on their second album the duo of Wayne Adams (Big Lad/Johnny Broke) and Iggor Cavalera (Sepultura/Cavalera Conspiracy/Soulwax) lays waste to all or any constrictions in its path, Blending a vast sonic landscape with a relentless compunction to break the pain barrier, Liminal is a dizzying exercise in overdrive which can take in industrial abrasions, pulverising rhythmic drive, acid-damaged freakery, cinematic tension and balladic gravitas in disarmingly coherent fashion. Other heads and personalities also came on board to add richness and intrigue to the onslaught - “I believe we got an amazing team of collaborators - from old school friends like Neurosis’ Steve Von Tilll and Converge’s Jacob Bannon to new school artists like Paula Rebbeledo from Rakta and New York doom rappers Lord Goat and Truck Jewelz” notes Iggor. This is an album birthed in difficult times and expressly engaged with raging against the dying of the light. As Iggor puts it “Liminal is an insane mirror of what being isolated feels like - madness through noise experimentations” An alchemical vision fit to both elevate the spirit and destroy everything in its path, ‘Liminal’ is the sound of Petbrick blasting their way through the boundaries of a fresh hell. Tracks: 01. Primer 02. Arboria 03. Pigeon Kick 04. Raijin 05. Lysergic Aura (Feat. Lord Goat & Truck Jewelz) 06. Damballa 07. Ayan 08. Grind You Dull (Feat. Jake Bannon) 09. Chemical Returns 10. Distorted Peace (Feat. Paula Rebellato) 11. Reckoning (Feat. Steve Von Till

The Crystal Furs are a queer indie pop/rock band from Portland, OR. They write melodic, textured songs about anxiety, architecture, lesbians, and queer feels - loud music for quiet hearts. In Coastal Light is the band’s fifth album, following on from 2020 LP Beautiful and True, and hears them honing their blend of grungey riffs and 60s-girl-group vocals. As featured on: KEXP, WFMU, BBC Radio, Freeform Portland, KBOO Portland, Portland Radio Project, Chasing Infinity on WRUW, Get In Her Ears, Grrls Like Us “Had Portland’s (via Forth Worth) The Crystal Furs been around in the late 80s – early 90s there is a possibility they would have been signed to Sarah Records, home of OG jangle pop bands like The Field Mice and The Sea Urchins. Then again with their sunny, bright melodies, they might have found themselves riding the charts alongside The Bangles.” 50Thirdand3rd “It’s something of a well-worn expression, that adult life is about ‘finding oneself’, but it certainly seems for the Buchanans, and their band, that all of the changes in their life have enabled them to do just that. And what they’ve found are winning alt. indie-pop purveyors in the mould of Helen Love. Beautiful And True is an album whose title could not be clearer: it is what it says it is.” Get In Her Ears “Think of those jangly C86 tunes mixing genteel harmonies, spiraling keyboards, melodic guitar/ bass sounds and wistful vocals and you begin to get the drift here.” Into Creative “From the opening tones of the Farfisa organ on ‘Comeback Girls’ the lo-fi indie pop shines through, with jangly guitars, unassuming instrumental breaks and a naturalistic production that puts the Furs right there in the room with you.” Cambridge Music Review“Retro without being jaded, cute without being cliched what The Crystal Furs do so well – and demonstrate deeply on both tracks in this release – is as we’ve said pair light, sparkling and downright danceable melodies with dark-hearted lyrics emerging from shadowy inner worlds and harder lived experiences.” Popoptica 1. Winter Stars 2. Charlatan 3. Miss Hughes 4. California Misses You 5. Stay With Me 6. Mr Moses 7. Rose-Colored Glasses 8. We Never Sang 9. Please Fade Away10. Girl in the Background

This is a limited edition pressing of 500, 140-gram, black vinyl records in deluxe tip-on “old style” jackets. Exquisitely printed on textured, water color paper. Digital download included. Be Earth Now comprises forty minutes of potent poetic recitation by Joanna Macy and Anita Barrows from their seminal translation of Rainer Maria Rilke’s The Book of Hours. Channeled in a spiritual fervor in 1899, The Books of Hours remains a profound and highly prescient body of work. Rilke’s poems illuminate paths of embodied mysticism, passionately express ecological grief, and reveal the exquisite expanses of the human heart. The Book of Hours, and now Be Earth Now, offer a poetic map for navigating the heartbreak, rage, and soaring love that so many of us feel in these ecologically urgent and socially emergent times. Rilke’s poems surge with passion and pain for a world that was already teetering toward peril at the turn of the last century, due to the rapid industrialization of Europe, and humankind’s increasing alienation from nature. This work flowed through Rilke in a torrent with sometimes as many as five or six poems arriving in a single day, each self-complete and with no need for later revision. While truly mystical poetry, Rilke’s musings on spirituality overtly critique fundamentalism and organized religion. Instead, Rilke extolls what he finds sacred in the mundane and conjures a sense of wonder for both the more-than-human-world and simply for existence itself. So, who better to give voice to these mystic treasures than Joanna Macy and Anita Barrows? Not only because of their enchanted translations, but also because these women are unquestionably two of our righteous elders. Macy and Barrows have worked diligently for many decades, through art, activism, education, psychology, and spiritual practice, to bring some balance back to this world. The same world that Rilke pleaded with his God to sustain for “just a few more hours,” so that we might have time to mend our relationship with the natural world, to cherish and connect with what is good and real, and to possibly even learn to “be earth now.” A1 Anita Barrows Recites Selections from Rainer Maria Rilke's 'The Book of Hours' B1 Joanna Macy Recites Selections from Rainer Maria Rilke's 'The Book of Hours'

Joni Mitchell was at a turning point 50 years ago. After making four acclaimed albums with Reprise Records, including her 1971 masterpiece Blue, she left the label to join the brand-new Asylum Records in 1972. Over the next seven years, Mitchell would record some of the most acclaimed music of her career while changing her musical direction by adding more jazz elements into her song writing. The evolution culminated in 1979 with Mingus, her collaboration with jazz titan Charles Mingus, and her studio last album for Asylum.

The Asylum Albums (1972-1975), the next instalment in the Joni Mitchell archive series, explores the beginning of that prolific era. The collection features newly remastered versions of For The Roses (1972), Court And Spark (1974), the double live album Miles Of Aisles (1974), and The Hissing Of Summer Lawns (1975). All four were recently remastered by Bernie Grundman. The Asylum Albums (1972-1975 will be available on 23rd September on 5-LP 180-gram vinyl (Limited Edition Of 20,000) and as a 4CD set. The cover art for the set features a previously unseen painting by Mitchell. The set also includes an essay by friend and fellow Canadian Neil Young.

The Asylum Albums (1972-1975), follows Mitchell’s musical evolution over four albums as she embraced more jazz-inspired pieces and moved away from the folk and pop of her early years. It includes essential tracks like her first Top 40 hit, “You Turn Me On, I’m A Radio” and her highest-charting (#7) single “Help Me,” plus favourites like “Free Man In Paris,” “Raised On Robbery” and “In France They Kiss On Main Street.” Mitchell has been intimately involved in producing the collection, lending her vision and personal touch to every element.













l b6. Judgement Of The Moon And Stars (Ludwig’s Tune) 2022 Remaster











[x] e1. You Turn Me On I’m A Radio (Live) [2022 Remaster]
[y] e2. Big Yellow Taxi (Live) [2022 Remaster]
[2022 Remaster]
[xa] e4. Woodstock (Live) [2022 Remaster]
[xb] f1. Cactus Tree (Live) [2022 Remaster]
[xc] f2. Cold Blue Steel And Sweet Fire (Live) [2022 Remaster]
[xd] f3. Woman Of Heart And Mind (Live) [2022 Remaster]
[xe] f4. A Case Of You (Live) [2022 Remaster]
[xf] f5. Blue (Live) [2022 Remaster]
[xg] g1. Circle Game (Live) [2022 Remaster]
[xh] g2. People’s Parties (Live) [2022 Remaster]
[xi] g3. All I Want (Live) [2022 Remaster]
[xj] g4. Real Good For Free (Live) [2022 Remaster]
[xk] g5. Both Sides Now (Live) [2022 Remaster]
[xl] h1. Carey (Live) [2022 Remaster]
[xm] h2. The Last Time I Saw Richard (Live) [2022 Remaster]
[xn] h3. Jericho (Live) [2022 Remaster]
[xo] h4. Love Or Money (Live) [2022 Remaster]

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.