Suche:patti day

We The People were a vocal quarter who recorded a handful of singles between 1969 and 1976. Their most prolific release is this release from 1973 produced by Landy Mcneal. The music arranger was prolific Bert DeCoteaux Ace Spectrum (“Don’t Send Nobody Else”). Also Patti Austin, The Main Ingredient, Roy Ayers, Ramsey Lewis, Ben E.King, Sister Sledge, Lonnie Liston Smith and Marlena Shaw to name a few

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Pastime Paradise, first released by Stevie Wonder in 1976 got a new lease of life when sampled by Coolio on his Grammy Award winning Gangsta’s Paradise. It has also over the years been covered by Patti Smith as well as our fave version, courtesy of Latin percussionist Ray Barretto. First released on CTI in 1981, to this day it remains a staple for both the jazz and soul rooms. Never before released on a 12 inch, Major Keys continue their fine form with this extended floor filler that will appeal to DJ’s and collectors alike. It also flips it with La Cuna and Mambotango taken from the same 1981 LP. This is a special EP and one that you will want for your collection.

Remixed With Love has set the benchmark for disco reworks for over a decade, with Dave Lee universally recognised as the most trusted name in the field when it comes to respectfully updating dancefloor classics from the original multi-tracks.

With original vinyl editions long deleted and constant demand from DJs and collectors, this brand-new one-off, vinyl-only release has been made possible via a fresh licensing deal with Sony Music, allowing eight of the most requested mixes from the catalogue to be pressed together for the first time.

This is not a repress; it is a bespoke, limited selection, and once the pressing has sold through, it cannot be repeated.

‘Soul Psychédélique’, released on Two-Piers, takes you on a journey into the world of Psychedelic Soul & Funk, from its early beginnings in the 1960s and 1970s to the current crop of artists championing the more Psychedelic, Trippy end of the Soul sound today.

‘Soul Psychédélique’ brings together legends of the Soul Psych scene, such as Curtis Mayfield, The Chambers Brothers, Marlena Shaw, The Temptations, and the brilliant ‘Sugar Man’ by Rodriguez. Place alongside Soul Titans like Isaac Hayes, Bobby Womack, Chairman of the Board, Terry Callier all delivering stunning Psychedelic Nuggets for your Listening pleasure. Throw in some covers like ‘Dear Prudence’ by The Five Stairsteps, ‘Hard to Handle’ by Patti Drew and ‘California Dreamin’’ Bobby Womack and finish with some brilliant modern-day exponents of the scene like Khruangbin, Gabriels and Michael Kiwanuka. The result is a crazy ride through the world of Psychedelic Soul and Funk. If you ain’t dancing and smiling by the end - what the hell is wrong with you!

‘Soul Psychédélique (The Best of Lounge & Exotica 1954-2022)’ is the fourth instalment in the ‘Psychédélique’ Compilation series on Two-Piers, following the critically acclaimed ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’, ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’ and ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022)’ and is available on 2LP Coloured Vinyl

Willie Nile"s "The Great Yellow Light" is the 21st full length release from veteran New York-based rocker that the New Yorker has called "One of the most brilliant singer-songwriters of the past thirty years". The album title is a reference to Vincent Van Gogh"s letters to his brother, Theo, and the light that inspired him in Arles, France where he lived from February 1888 to May 1889. The album was recorded at Hobo Sound, Weehawken, NJ produced by Nile and his long-time producer, Grammy-winner Stewart Lerman (Elvis Costello, Patti Smith, Sharon Van Etten, etc.). Features special guests Steve Earle, Paul Brady, Waddy Wachtel, David Mansfield, and members of Black 47 and The Hooters.

Purple Vinyl. "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Orange/Black/Sunburst Vinyl "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Maud the moth, the solo project of Spanish-born and Scotland-based pianist, singer and songwriter Amaya Lopez-Carromero announces her new album, The Distaff, to be released via The Larvarium (digital +CD) and La Rubia Producciones (vinyl) Amaya has long used the mantle of Maud the moth as an alter-ego, a séance-like conduit to explore themes of rootlessness, identity and trauma. The Distaff in particular refers to the stick or spindle onto which wool or flax is wound for spinning, and an object which has historically been used across multiple cultures as a symbol wielded by the “virtuous woman”, an authoritarian ideal around which much of the trauma surrounding the feminine coalesces. The album takes the form of a sort of self reflective and surreal autobiography. It was in part inspired by the poem of the same name written by the Greek poet Erinna, as she mourns her friend's loss of individuality and agency in exchange for marriage - and therefore safety and acceptance in the eyes of society. The album exists in an ethereal but violent world of aesthetic overlaps where time stands still and fictional and reimagined folk sits at the table with Maud the moth’s usual sonic menagerie. It is the result of a lifetime of obsession with sound and music, where glimpses of musical genre offer insight into Amaya’s artistic interests and her participation in the underground European scene for many years, in bands such as healthyliving. Heavier, darker, and more exposed than any of her previous works it features some highly accomplished artists, such as Seb Rochford (Patti Smith, Polar Bear, Sons of Kemet, Pulled by magnets, etc.) on drums, Alison Chesley (Helen Money) on cello, Fay Guiffo on violin and Scott McLean (Ashenspire, healthyliving, Falloch) on guitar, saxophone and synthesiser. Maud the moth shares the video for "Siphonophores". About the track, Maud the moth says; I wrote "Siphonophores" on guitar, during the first lockdown, a period where I was kind of trapped between an almost empty flat in Edinburgh and Dresden. It was an incredibly harrowing time, but also one of hope and where important new things were being birthed. I felt incredibly sensitive to everything, almost like life was happening in slow motion. I´m not a confident guitarist since I am completely self-taught, but, probably because of this, I feel that this instrument allows me to focus on aspects of the songwriting that I normally overlook when writing on piano, and I think it was a necessary step for this song to exist. Something else which I've been really exploiting lately and features strongly in the album is the percussive capabilities of the piano, and in particular, of the sustain pedal when mic'd up. This can be heard very clearly at the beginning of "Siphonophores". Written and arranged by Amaya, with some contributions in the later role from the aforementioned collaborators, the album presents nine tracks originally written entirely on acoustic piano as accompanied voice pieces, in pure singer-songwriter fashion. The album was co-produced and recorded by Scott and Amaya in different studios across the UK between January and July of 2024, in a process that started shortly after the 2020 pandemic and finished alongside the album recordings in a detailed, organic and at times obsessive process aimed primarily at capturing the natural dynamics and expression of free performance. The Distaff was mixed in its entirety by Scott and mastered at Abbey Road by Alex Wharton (Radiohead, My Bloody Valentine, Aurora, Kathryn Joseph etc.) Despite being born of a very personal point of view, the album lacks a specific narrator and was conceived almost as a sonic trousseau, where the needle point, silks and other family heirlooms have been swapped for out-of-the-corner-of-the-eye memories of rural Spain by the vineyards, family disputes, old tales of wartime pains, generational breaches and finally the conflict of migration and estrangement. The songs paint dystopian pastoral scenes which evolve throughout the span of one fictional day outside of time and coherent locations and where imagination (often the only account surviving from traumatic events and gaslighting) has become indistinguishable from fact. The Distaff attempts to acknowledge past trauma, comprehend and process some of the more difficult aspects which have contributed to our darker self and offer closure and solace through creative catharsis.

Maud the moth, the solo project of Spanish-born and Scotland-based pianist, singer and songwriter Amaya Lopez-Carromero announces her new album, The Distaff, to be released via The Larvarium (digital +CD) and La Rubia Producciones (vinyl) Amaya has long used the mantle of Maud the moth as an alter-ego, a séance-like conduit to explore themes of rootlessness, identity and trauma. The Distaff in particular refers to the stick or spindle onto which wool or flax is wound for spinning, and an object which has historically been used across multiple cultures as a symbol wielded by the “virtuous woman”, an authoritarian ideal around which much of the trauma surrounding the feminine coalesces. The album takes the form of a sort of self reflective and surreal autobiography. It was in part inspired by the poem of the same name written by the Greek poet Erinna, as she mourns her friend's loss of individuality and agency in exchange for marriage - and therefore safety and acceptance in the eyes of society. The album exists in an ethereal but violent world of aesthetic overlaps where time stands still and fictional and reimagined folk sits at the table with Maud the moth’s usual sonic menagerie. It is the result of a lifetime of obsession with sound and music, where glimpses of musical genre offer insight into Amaya’s artistic interests and her participation in the underground European scene for many years, in bands such as healthyliving. Heavier, darker, and more exposed than any of her previous works it features some highly accomplished artists, such as Seb Rochford (Patti Smith, Polar Bear, Sons of Kemet, Pulled by magnets, etc.) on drums, Alison Chesley (Helen Money) on cello, Fay Guiffo on violin and Scott McLean (Ashenspire, healthyliving, Falloch) on guitar, saxophone and synthesiser. Maud the moth shares the video for "Siphonophores". About the track, Maud the moth says; I wrote "Siphonophores" on guitar, during the first lockdown, a period where I was kind of trapped between an almost empty flat in Edinburgh and Dresden. It was an incredibly harrowing time, but also one of hope and where important new things were being birthed. I felt incredibly sensitive to everything, almost like life was happening in slow motion. I´m not a confident guitarist since I am completely self-taught, but, probably because of this, I feel that this instrument allows me to focus on aspects of the songwriting that I normally overlook when writing on piano, and I think it was a necessary step for this song to exist. Something else which I've been really exploiting lately and features strongly in the album is the percussive capabilities of the piano, and in particular, of the sustain pedal when mic'd up. This can be heard very clearly at the beginning of "Siphonophores". Written and arranged by Amaya, with some contributions in the later role from the aforementioned collaborators, the album presents nine tracks originally written entirely on acoustic piano as accompanied voice pieces, in pure singer-songwriter fashion. The album was co-produced and recorded by Scott and Amaya in different studios across the UK between January and July of 2024, in a process that started shortly after the 2020 pandemic and finished alongside the album recordings in a detailed, organic and at times obsessive process aimed primarily at capturing the natural dynamics and expression of free performance. The Distaff was mixed in its entirety by Scott and mastered at Abbey Road by Alex Wharton (Radiohead, My Bloody Valentine, Aurora, Kathryn Joseph etc.) Despite being born of a very personal point of view, the album lacks a specific narrator and was conceived almost as a sonic trousseau, where the needle point, silks and other family heirlooms have been swapped for out-of-the-corner-of-the-eye memories of rural Spain by the vineyards, family disputes, old tales of wartime pains, generational breaches and finally the conflict of migration and estrangement. The songs paint dystopian pastoral scenes which evolve throughout the span of one fictional day outside of time and coherent locations and where imagination (often the only account surviving from traumatic events and gaslighting) has become indistinguishable from fact. The Distaff attempts to acknowledge past trauma, comprehend and process some of the more difficult aspects which have contributed to our darker self and offer closure and solace through creative catharsis.

Linking music and literature, building a bridge between the written and the sung – only the greats have managed to do this in the past. Leonard Cohen, Scott Walker, and Patti Smith were just some of the shining stars that Anna B Savage orientated herself towards as a teenager. Born on the anniversary of Bach’s death, the young musician spent her birthday every year in the Green Room of the Royal Albert Hall watching her parents perform compositions by the grand master. That shaped her. Today, thanks to albums such as her debut, “A Common Turn” (2021), and the incredibly sensual art-pop opus “in|FLUX” (2023), the singer-songwriter is one of the truly exceptional talents on the British independent scene. In her music, otherworldly vocals nestle up against chamber orchestral compositions, delicate arrangements rise up and blow away, and the musician’s highly eclectic sound grows song by song into an experience that lingers for days and weeks. Potentially life-changing.
A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.” Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home. That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.” In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

Linking music and literature, building a bridge between the written and the sung – only the greats have managed to do this in the past. Leonard Cohen, Scott Walker, and Patti Smith were just some of the shining stars that Anna B Savage orientated herself towards as a teenager. Born on the anniversary of Bach’s death, the young musician spent her birthday every year in the Green Room of the Royal Albert Hall watching her parents perform compositions by the grand master. That shaped her. Today, thanks to albums such as her debut, “A Common Turn” (2021), and the incredibly sensual art-pop opus “in|FLUX” (2023), the singer-songwriter is one of the truly exceptional talents on the British independent scene. In her music, otherworldly vocals nestle up against chamber orchestral compositions, delicate arrangements rise up and blow away, and the musician’s highly eclectic sound grows song by song into an experience that lingers for days and weeks. Potentially life-changing.
A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.” Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home. That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.” In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.