Search:pain

Welchem 60s-Fan klingen die Songs nicht in den Ohren: 'Painter Man', 'Making Time', 'Cool Jerk', 'Tom Tom', 'Biff Bang Pow', ihre ultra-coolen Versionen von 'Like A Rolling Stone' oder 'Hey Joe'und einige mehr. Speziell in Deutschland hatte die 1966 formierte Beat-Band um Gitarrist Eddie Phillips eine treue Fan-Gemeinde.

If now the time for voodoo amulets and protective talismans, sharpened swords and unbreakable shields, it’s also a moment for music to assume its highest form as a healing art, a source of benevolent spells, and a refuge from the chaos. After all, the best creators are always those that tap into the telluric current that exists below the surface. Those who delve into the collective unconscious so that timeliness is a happy accident; timelessness was always the intent. If Quelle Chris and Chris Keys’ Innocent Country 2 sounds like an antidote for a moment of surreal anxiety, the same could be said of it a decade from now. It’s an album best understand in a dialogue with the first volume of the series. Released in 2016, the initial Innocent Country focused on isolation, pessimism, and the notion of finding peace within pain. At a time when those feelings convey the mood of the moment, Quelle and Keys have responded with a soundtrack that offers soothing light in a bleak timeline. A hopeful record in a hopeless moment, precisely when it’s needed most.

Possessing one of the most distinctive and recognizable voices on the planet, former Men at Work frontman Colin Hay faces down struggle, loss and the existential questions about mortality on 'Now And Evermore', his first collection of new material since the 2016 release of Fierce Mercy

Written and recorded in Hay's adopted hometown of Los Angeles and at Compass Sound Studio in Nashville, the collection is a defiantly joyful celebration of life and love, one that insists on finding silver linings and reasons to smile through the challenges of recent times. That's not to say the record deludes itself about the realities of our modern world, but rather that it consistently chooses to respond to pain with beauty and doubt with wonder. The music on the new album
brims with fanciful melodies and lush orchestration. Hay's performances are likewise animated and full of life, drawing on vintage pop charm, pub rock muscle, and folk sincerity to forge a sound that's at once playful and profound, clever and compassionate, whimsical and earnest.

Single LP w/ printed inner sleeve + DL. Sophomore solo album from Emma Ruth Rundle, (Marriages (Lead Vocals/Guitar) and Red Sparowes (Guitar)). “…a sophomore effort of Cat Power-like tenderness and PJ Harvey-level intensity” The Fader / "...a sort of old-souled wisdom, conjuring the vastness of a sea." – Pitchfork // Emma Ruth Rundle’s 2nd solo album, Marked for Death, mines feelings of loss, defeat, heartache and self-destructiveness to emerge with the most honest and compelling accomplishment of an already prolific career. She shapes vast, evocative landscapes of sound, combining them with lyrics of devastating candor. Self-determination and resiliency, disguised in this case as coming to terms with overwhelming defeat, are key aspects of her personality. Transforming pain into works of great beauty makes her the compelling artist she is. A more adventurous production than her solo debut Some Heavy Ocean (2014, Sargent House), the eight compositions on Marked for Death, helmed by engineer/co-producer Sonny DiPerri, emphasize dynamics and vocal melodies, variable tuning, and a dense layering and texturing of guitars. Nevertheless, fear and self-doubt linger in the shadows of Rundle’s mind, providing an incessant counterpoint to her ambitious talent and sultry, albeit de-emphasized, allure. Exemplified by the candid, unglamorous cover portrait, Marked For Death takes a persuasive argument for its creator’s utter helplessness in the shadow of defeat. And through a potent dose of dark, hypnotic rock every bit as satisfying as her work with Marriages and Red Sparowes, Marked for Death’s most resonant element is Emma Ruth Rundle herself, settling in to her role as singer/songwriter. Her rich voice, alternately jostled and cradled by the sounds conjured from her guitar, feels more present, perhaps even more deliberate, than ever before. // UK publicity Silver PR - Early press support/features already confirmed with Pitchfork, The Fader, The Independent, Interview, VISIONS, Music Radar, New Noise, BBC and MUCH more tbc.

Los Yesterdays made a big debut on Penrose with their first single and it is still getting heavy plays by soul DJs all over the place. Now they return with another perfect delivery of mid-tempo excellence that will appeal to fans of Eddie Holman and Billy Stewart. 'Nobody's Clown' pirouettes on splashy cymbals with natty chord riffs and twirling drums that dance their way into your heart. On the flip is the more forlorn and beautifully pained 'Give Me One More Chance.' It's about a love lost, like all the best tunes, and frankly, given the performance, it is a chance Mr Victor Benavides well deserves.

Wretched, bleak, hopeless and incredibly dark. Canadian dark hardcore crust bruisers Dark Circles and American black sludge destroyers Abstracter bring forth waves upon waves of utter misery and horror on this crushing 12" split. Dark Circles' stark, rabid and virulently embittered dark hardcore is a firestorm of crust punk, grindcore and black metal that marvelously brings together the best and most confrontational elements of bands like Catharsis, Gehenna, Cursed, The Secret, etc. On the other hand Abstracter's bleak and hallucinatory side fuses doom, crust, drone and black metal to incarnate a staggering twenty minutes of total and horrific devastation, yielding a similar sonic hell as seen in dark and miserable slower bands like Triptykon, Primitive Man, Coffinworm, Indian, etc

A harrowing classic, Billie Holiday's personal favorite among her '50s albums captures the singer 17 months before her death, her once honeyed voice, scarred and weakened from punishing life, its ravages highlighted by the 1958 session's crisp sonics and the contrasting "satin" of Ray Ellis' sleek string arrangements. Yet it is that very contrast that explains the power of these performances: In revisiting its torchy standards, Holiday reduces them to their core of pain and longing, transforming "I'm a Fool to Want You," "You Don't Know What Love Is," and "You've Changed" into naked declarations as mesmerizing and unsettling as a horrific accident. Any postrocker that presumes pop standards and string sections automatically translate to "easy listening" hasn't listened to this. This 1997 version adds unreleased takes and a beautiful 20-bit digital transfer to extract every shivering pang of Holiday's music. --Sam Sutherland

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

'All That's Been Lost' is the debut album from Glasgow based singersongwriter Steve Grozier.The album's title, chosen before the pandemic, has turned out to be strangely prophetic
Recorded at 'The Ranch', home studio of friend, producer and bandmate, Roscoe Wilson.Grozier was all set to record before being abruptly halted by lockdown.

When it was safe to continue, the dynamic of the recording process had changed dramatically. Given the size of the studio, the musicians playing on the record all had to record their parts separately or remotely.
Despite the constraints, 'All That's Been Lost' is a fully realised piece of work. The themes of loss, darkness and emotional pain find parallels in the work of Phosphorescent or Richmond Fontaine.
'Sam, I Know You Tried' is a dark, layered rocker, featuring excellent guitar work from producer and multi- instrumentalist Roscoe Wilson. It was written in response to losing a close friend. 'Blue and Gold' and 'When the Darkness Comes' are Grozier at his best,his effortless vocal sitting in contrast to the heart-breaking lyrics. The beautiful 'I Miss My Friend' is dedicated to Neal Casal and is a touching tribute to one of Grozier's heroes.

The two singles taken from the album, 'Memories' and 'Power in the Light', showcase Grozier's range as a songwriter. On 'Memories' we find Grozier coming to terms with ageing and the pain and beauty in doing that with someone you love, but at the same time aware of all that has been lost along the way. It features some intricate dobro work from Nathan Golub (Mandolin Orange, Mountain Goats). On the second single 'Power in the Light', Grozier is at his most hopeful. He sings,"I'm strong in the fight, there's grief and anger, but there's power in the light". Grozier says that light is "whatever you need it to be or wherever you find the strength to go on. To keep trying"
.Ultimately, this is the underlying theme of 'All That's Been Lost'. Hope.

Enjoy the Melodic Sunshine is a collection of songs by Cosmic Rough
Riders featuring tracks from their first two self-financed albums as well as three new tracks

The album was put together by Alan McGee's label as a starting point for mainstream listeners . The album spawned four singles including the Top 40 hits "Revolution (In The Summertime)" and "The Pain Inside".Most of the tracks on the album were recorded in a community funded recording studio in Castlemilk housing scheme and released on two self- financed albums; Deliverance (1999) and Panorama (2000). On hearing Panorama, Alan McGee signed the band to a one-album deal. The album would take the best of the first two albums as well as some new tracks.Now 21 years later Past Night From Glasgow will take the original masters, add a bonus track "I Call Her Name".

Enjoy the Melodic Sunshine is a collection of songs by Cosmic Rough
Riders featuring tracks from their first two self-financed albums as well as three new tracks

The album was put together by Alan McGee's label as a starting point for mainstream listeners . The album spawned four singles including the Top 40 hits "Revolution (In The Summertime)" and "The Pain Inside".Most of the tracks on the album were recorded in a community funded recording studio in Castlemilk housing scheme and released on two self- financed albums; Deliverance (1999) and Panorama (2000). On hearing Panorama, Alan McGee signed the band to a one-album deal. The album would take the best of the first two albums as well as some new tracks.Now 21 years later Past Night From Glasgow will take the original masters, add a bonus track "I Call Her Name".

Enjoy the Melodic Sunshine is a collection of songs by Cosmic Rough
Riders featuring tracks from their first two self-financed albums as well as three new tracks

The album was put together by Alan McGee's label as a starting point for mainstream listeners . The album spawned four singles including the Top 40 hits "Revolution (In The Summertime)" and "The Pain Inside".Most of the tracks on the album were recorded in a community funded recording studio in Castlemilk housing scheme and released on two self- financed albums; Deliverance (1999) and Panorama (2000). On hearing Panorama, Alan McGee signed the band to a one-album deal. The album would take the best of the first two albums as well as some new tracks.Now 21 years later Past Night From Glasgow will take the original masters, add a bonus track "I Call Her Name".

Enjoy the Melodic Sunshine is a collection of songs by Cosmic Rough
Riders featuring tracks from their first two self-financed albums as well as three new tracks

The album was put together by Alan McGee's label as a starting point for mainstream listeners . The album spawned four singles including the Top 40 hits "Revolution (In The Summertime)" and "The Pain Inside".Most of the tracks on the album were recorded in a community funded recording studio in Castlemilk housing scheme and released on two self- financed albums; Deliverance (1999) and Panorama (2000). On hearing Panorama, Alan McGee signed the band to a one-album deal. The album would take the best of the first two albums as well as some new tracks.Now 21 years later Past Night From Glasgow will take the original masters, add a bonus track "I Call Her Name".

Brand new studio album by The William Loveday Intention! As part of an incredibly productive year by one of the world's most productive and cherished artists, Billy Childish releases a new LP by The William Loveday Intention as part of his attempt at “a career in a year”. “The Baptiser is titled after John The Baptiser, Christ's teacher who proclaimed that you don't need to make blood sacrifices in the temple of Jerusalem to have communion with God – it's direct one to one in the desert, wearing a camel hair shirt and eating the fruits of the honey locust tree. The LP has many spiritual highs and blaming lows. It should move and sound like the contents of a thinking mind.” WILLIAM LOVEDAY 2022 TRACKLISTING 1/The Baptiser 2/A Library To You and the Self 3/A Painted Pantomime Dame 4/Mister Smith 5/Poems of Anxiety and Uncertainty 6/I'm Good Enough 7/Knockin' of Heaven's Door 8/A Framed T-Shirt Remnant 9/Poems of Anxiety and Uncertainty (Blues) 10/The Baptiser (Reprise)

Reissue of 2018 debut on 2 colour vinyl, black & milky clear. Note includes members of Pains Of Being Pure At Heart. More than anything else, Oh Boy is a celebration of teenage fandom and friendship. Each song is “about” something else, of course: a betrayal, a breakup, new love, parenthood. The usual stuff. And we’re hardly teenagers. Yet somehow Massage feels like the kind of band you were in back in high school. We were friends first. We all had other lives. We started playing music almost by accident. (Michael wanted to learn drums; Alex wanted to relearn guitar after playing bass in the Pains of Being Pure at Heart; Andrew and David invited themselves to their second practice.) We made a playlist of songs we loved hundreds of them long before we recorded anything: the Feelies, the Go-Betweens, East River Pipe, the Lemonheads, the Breeders, Flying Nun, Sarah Records. Alex and Andrew started writing songs the way kids do to sound like their heroes. No matter how we tried, though, the songs half Alex’s, half Andrew’s came out sounding like “Massage”: scrappy, catchy, minimalist, and sincere, with Gabi’s harmonies elevating each track. Every Monday after practice, we went to Jay’s Bar for beers and poutine. There was no point to any of this. We were just having fun. Then one day we realized we were a band. Oh Boy is our attempt to capture this easy alchemy on tape the strange magic of a bunch of amateurs coming together, finding their own wavelength, and making something out of nothing. We couldn’t have asked for a better partner in crime than our pal Jason Quever of Papercuts, who recorded us on random weekends over the course of two years. We hope the result sounds as loose, low-key, idiosyncratic, and ultimately indelible as the bands that inspired us — the ones you already know, and the ones that are still just teenagers goofing off in some suburban garage.

Following two stunning singles, prodigiously talented producer and composer Frederic Robinson is set to drop his debut album,
'Mixed Signals', on Blu Mar Ten Music on 14th October. The album is the culmination of over a year's work and a lifetime of musical
obsession for Robinson, comprising of a series of intricately crafted and delicately emotive tracks exploring a forward-thinking
electronic vision, which he describes as "music for the listener with a broad horizon and a short attention span'.
Over its eleven tracks, 'Mixed Signals' gives Robinson the canvas to showcase the full breadth of his talents like never before.
Amalgamating the many influences that inform his productions, from drum & bass and electronica to contemporary classical
composers, 'Mixed Signals' is a brilliantly crafted and coherent artistic statement that draws upon his talents as a classically trained
multi-instrumentalist as well as an electronic producer. Filled with light and shade, impact and intricacy, 'Mixed Signals' is much more
than a drum & bass record or a collection of club tracks; this is an album in the truest sense of the word.
"So far, this album is my biggest musical project and my greatest achievement. I worked on it for about a year and went through many
different creative phases in that time, all of which are represented somewhere on the LP. It is a summary of my current talents, skills
and interests. It marks the end for some ideas and concepts and the beginning for many others." - Frederic Robinson.
Built from a collage of acoustic and electronic elements, Robinson's music is a dense patchwork of skittering rhythms, found sound
and lush instrumentation, which harnesses a compelling emotional draw as much as it does an undeniable dance floor energy. Both
immediate and nuanced, 'Mixed Signals' is a brilliant balance of contrasts.
The sweeping drama of previous single 'Theme Park' opens the album, remaining as fresh and brilliantly unique as ever, while 'Off
Topic' and 'Bloom' featuring Stray both also provide familiar touchstones, exploring esoteric manifestations of 170 bpm's outer
possibilities. Three vocal tracks are scattered throughout the tracklist, with the soft, otherworldly tones of Melanie Robinson providing
an entry point to Robinson's world of broken percussion and wandering melodies.
Elsewhere, 'Vamp Till Ready' balances rich string orchestration against a wave of skittering percussion and 'Shut' offers an expansive
beauty in its naïve, dreamlike melodies. 'Particles' showcases an innate understanding of drum & bass constructs, warping tight
breaks and deep bass against bold blasts of colour while the eponymous track explores a playfully off-kilter and delicately nuanced
downtempo vision, before the album is played out on wave of hazy melodies and light-footed rhythms with closer 'Static Float'.
'Mixed Signals' provides the broad canvas that Robinson thrives in painting with his sprawling musical influences and complex
arrangements, and the results are phenomenal. The album is a masterpiece in dance floor escapism from a talent whose career is
undoubtedly in the ascendant.

Released in 1983 on a miniscule run of 300-self-financed LP’s, Dennis Taylor’s ‘Dayspring’ remains a lost masterwork of transcendental instrumental guitar. An important missing link between the 60’s folkloric experimentalism of John Fahey and Robbie Basho, and the new age atmospherics mined by William Ackerman and Michael Hedges in the early 80’s. Though Taylor’s guitar playing remains crisply unadorned on these 10 tracks, his technique and his compositions stretch beyond the folk roots of the genre. He crafts a soundworld that is both immersive and familiar. His pastoralism has a spaciousness - a pianistic drift - that feels truly timeless.

Taylor cut his musical teeth through the 60’s and 70’s playing with garage rock bands, and later finding his footing in the world of jazz/folk fusion. Sometime in the early 70’s, Taylor found his most profound inspiration to date when he witnessed a live performance from Takoma Records luminary, Leo Kottke. Enraptured by Kottke’s ability to fill the room so completely, with the sound of just one instrument, Taylor was determined to follow a similar path. Thus, he began composing music for solo guitar. He spent nearly a decade writing and honing his pieces, finally entering a studio in 1982 to commit them to tape. Taylor likened the recording experience to “a living room concert.” He recorded each song in a single take, in the order they appear on the album. Paying out of pocket for the recording sessions, studio time was at a premium, so Taylor had arrived prepared. And the results speak for themselves.

Dennis Taylor’s guitar playing is clean, precise, and masterfully proficient. And yet, ‘Dayspring’ is not merely a document of technical ability. His compositions are deeply
expressive. Taylor’s deft fingerpicking is married to achingly beautiful melodicism. His arpeggios chime and roll with painterly expression. Across the breadth of ‘Dayspring’, Dennis Taylor strikes a perfect balance between wistful nostalgia and bold expansion. Though Taylor initially hoped to release his album with new age progenitors Windham Hill, he ultimately decided to release the album on his own. He self-financed a pressing of 300 LP’s, which were largely distributed locally in his hometown of Lincoln, Nebraska. And now, Morning Trip is supremely proud to bring this album back to light. An important missing piece in the expansive tapestry of instrumental guitar music, finally restored.

Lieve is the long-awaited second LP by British electronic music producer Holy Other, the first new music since 2012. Emerging from an extended stay at Bidston Observatory on the Wirral, Lieve was recorded throughout 2020 in the North West of England. Using the acoustics of the observatory — the cavernous basement and the geometrically-perfect wooden domes — Holy Other recorded and resampled material that would become the bedrock of Lieve.

A marker in the sand as his first output since 2012’s critically acclaimed Held, these recordings — including the voice of NYX’s Sian O’Gorman, violin from Simmy Singh and saxophone from Daniel Thorne — were cut, manipulated and pieced together to form Lieve.

“How do you break up with a place?”

Have you ever tried to leave your problems behind? No matter how hard you try to reshape yourself, your past remains. This is an album about L(i)eaving, coming to terms with the past, and trying to live in the present.

Much like his past work, Holy Other leaves the listener to draw their own semantic conclusions from the record. The lyrics are ambiguous — ghostly voices, whispers and stutters interwoven with his signature sound palette.

Still, the expressive mood from prior releases remains intact, even if these intimate textures and deft rhythms pick up more mature questions about false starts and failed escapes.

The title track single Lieve breaks almost a decade of silence, finding the language to articulate painful feelings, exhaling, and moving forward.

For Susanna, nothing happens in a vacuum. Every creative act responds to what's come before. And by exploring this dialogue, we can learn new things about ourselves and the world. This idea has inspired the Norwegian artist throughout her near two1decade career. It's behind her unforgettable covers of classic songs and her interpretations of the paintings of Hieronymous Bosch. And it found its purest expression on 2020's Baudelaire & Piano, a stripped back song cycle setting texts from the 19th century French poet's The Flowers of Evil. In Elevation, its followup, Susanna's engagement with Baudelaire's work blossoms into a collaborative enterprise, combining tape, spoken word and song. The result is a unique musical conversation spanning centuries and disciplines; a "time travelling" project, as Susanna puts it, that moves between creative dimensions. She brings collaborators back into the process, nurturing connections made over a series of Baudelaire & Piano live shows presented in 2020 and 2021. Composer1improviser Delphine Dora offers teasing renditions of the original French texts, layering spoken recitation and otherworldly singing in a set of atmospheric vignettes. And tape recorder soundscapes from Stina Stjern-familiar from Susanna's Hieronymous Bosch project Garden of Earthly Delights (2019)-frame the album with hiss, hum and soft fingers of melody, like mist settling on a landscape. These contributions deepen the album's mystery and its evocative power. The result is an engrossing interleaving of sounds and registers; and, as Susanna describes it, "an intuitive and collective ceremony of the ethereal and mystical in life." Elevation features work by American occultist artist Cameron (1922-1995), an adherent of Aleister Crowley's Thelema movement. Her illustrations "Witch Woman", "Pan" and "Danse" adorn the release, which will be available on cassette as well as in the usual digital, CD and vinyl formats.Oslo-based artist Susanna has released music as Susanna and the Magical Orchestra and 'just' Susanna since 2004, through labels like Rune Grammofon, ECM Records and her own outlet SusannaSonata. She has collaborated with artists like Jenny Hval, Bonnie 'Prince' Billy and John Paul Jones, highly active with different projects, songwriting/composing, and making personal interpretations of other people's songs.