Search:paul paul

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

Recorded October 22, 1958, Olympia hall, Paris.
Original LP issue: Brunswick 87 903.

“They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…
Text – Alain Tercinet

“Who Do You Love The Most?” is the young trio’s third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album’s 10 songs are all Mulelid originals, except for a gripping cover of Judee Sill’s The Archetypical Man. Two of the originals are the trio’s versions of songs that first appeared on the pianist’s much lauded solo piano album (“Piano”) from last year. Kjetil André Mulelid (31) comes across as an exceptionally mature pianist and composer. The trio’s 2017 debut “Not Nearly Enough To Buy A House” received wide international acclaim, with writers most typically mentioning Keith Jarrett and Bill Evans. The praise continued for 2019’s follow-up “What You Thought Was Home”, with the Jazz Journal giving it a 5/5 rating and calling it “some of the most captivating music I´ve heard in quite some while”. All About Jazz noted the maturity of the work, feeling like coming from three well-seasoned pros. Mulelid grew up in the small village of Hurdal, and started playing the piano when he was nine, after hearing Chopin on the stereo. Later he did a bachelor degree in jazz performance at NTNU in Trondheim, blessed with top teachers such as Erling Aksdal, Vigleik Storaas and Espen Berg. He is also a member of jazz quartet Wako. Bjørn Marius Hegge (33) has been making waves on the Norwegian jazz scene lately, with his quintet’s debut album "Hegge" winning a Norwegian Grammy. He has his own trio as well, with pianist Oscar Grönberg and young drummer ace Hans Hulbækmo (Moskus). In 2019 he released "Ideas" with Axel Dörner, Rudi Mahall, Håvard Wiik and Hans Hulbækmo. Andreas Skår Winther (30) is, like the other two, a "product" of the fertile milieu at the Trondheim Conservatory of Music. His discography includes "Left Exit, Mr. K" with Michael Duch & Klaus Holm (Clean Feed) and Megalodon Collective (Gigafon). Tracklist 1. Paul 2. Endless 3. The Road 4. Remembering 5. Point Of View 6. The Archetypal Man 7. For You I’ll Do Anything 8. Imagine Your Front Door 9. Gospel 10. Morning Song

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

Following the release of Barbie Bertisch’s debut album Prelude in June 2022, Love Injection is thrilled to announce Prelude Remixes via Love Injection Records, which features six artists new to the label, kicking off with a two-track 12” single followed by a full digital release. Love Injection is the label and fanzine Bertisch runs with her partner, Paul Raffaele. The duo are romantic about remixes as an artform and always intended to have reinterpretations be the next phase after Prelude. Often reduced to ways to extend a hype cycle, or disjointed add-ons, Love injection’s remixes exist in dialogue with the artist’s songs.

The 12 inch single will inaugurate the project, with Montreal’s Gene Tellem on the A side, and Panorama Bar residents Lakuti and Tama Sumo on the flipside. On the “GT Remix”, Bertisch gushes that “Gene is very good at creating and sculpting atmospherics in her productions. She really grabbed the song and took it to a different place.” Tellem's version of “After The Storm” is faster, elastic and pulsing with an almost primordial intensity.

Creative and life partners Lakuti and Tama Sumo take on “Fertile Garden (Emerge)”. Lakuti, originally from South Africa, got her start DJing in the Johannesburg house scene of the ‘90s. She is now based in Berlin and often DJs with Tama Sumo, who grew up in Bavaria and moved to Berlin in 199x and has been a staple in the scene there since. The duo, both residents of Berlin's Panorama Bar, turn “Fertile Garden” into an ecstatic, unrelenting beat-down, best fit for peak time.

Deluxe gloss laminated gatefold reissue with bonus 7” The Silly Egg E.P . Pressed on half & half colour vinyl (Red/Turquoise) with a white vinyl 7”. Includes printed inner sleeve.
East London’s The Gymslips, Paula Richards, Suzanne Scott and Karen Yarnell, barged their way onto the post punk scene in 1981. They openly embraced drinking, Pie & Mash, monkey boots and double denim right from the start. Often credited with being the first female Oi! band, but they brought so much more to the table with their punky 60s influenced girl pop.
Formed in 1980, The Gymslips started playing live the following year, and opened for Dolly Mixture on a 1981 UK tour. The band referred to themselves as “Renees” a late 60s term for mod girls, the same subculture that named boys “Ronees”. Drummer Karen Yarnell told the NME that a “Renee was a girl who got as much shagging done as a bloke while also matching him for pint drinking, fag smoking, nose-picking, farting and the wearing of skinhead style double denim”.
They recorded 5 sessions for the John Peel show, after signing to Abstract Records their first single was a cover of Suzi Quatros 48 Crash, which was released in 1982. The following year they released Their sole album Rocking With The Renees along with 2 further singles “Big Sister” & “Robot Man”
After Karen Yarnell left to join Serious Drinking, this ended The Gymslips Mk 1. Although they were to return 2 years later with a new line up to release their final single “Evil Eye”

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

Limited Clear Vinyl edition, 300 copies! This is Lee Morgan’s second release as a leader. At the time of the recording (1956) Morgan was just 18 and he was already shining like a mature soloist and solid band leader. Another attracting point in this set is that the most of the tracks are composed by the great Benny Golson. A beautiful hard swinging bop session featuring Hank Mobley on tenor, Horace Silver on piano, Paul Chambers on bass, Charlie Persip on drums – plus the obscure Kenny Rodgers on alto sax. Originally released on Blue Note in 1957 this album stands as a strong early piece in Lee Morgan discography

Side A: 1. Whisper Not - 2. Latin Hangover - 3. His Sister
Side B: 1. Slightly Hep - 2. Where Am I - 3. D’s Fink

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Renude19’s debut single Blah Blah Blah is a Synthpop protest song; an original piece of music sampling Greta Thunberg’s famous Blah Blah Blah speech from the Youth4Climate Conference in Milan, in September 2021.

The feel of the track is reminiscent of Kraftwerk, Cabaret Voltaire and early Human League, a dark marble slab of electro, sat on a mid-tempo break beat and underpinned by classic synths that give the piece a beautiful retro feel. The track has the vibe of a house record, a slow builder that reaches a subtle climax and makes a hard hitting point about climate change.

The song itself is powerfully delivered by Brighton based vocalist Christabel, who has recorded with artists such as the Freemasons and Skylab 9. The piece has an unusual song structure with Greta Thunberg sampled in the chanted chorus, and her speech used to dramatic effect.

Recorded in Brighton UK by producer Ash Huntington; engineered by veteran techno artist Iain Rive (Cydonia, Semsis, Universal Sound); mastered by the wonderful Walter Coelho; and the sleeve design was created by the world class album sleeve designer Pete Hayward, who has designed for Paul McCartney, Kylie Minogue, Simon Cowell, Universal Music, Sony and Wham!

The single is being promoted with Facebook and Youtube campaigns, has already had over 65’000 plays on Youtube, and is gaining radio support from 6music DJs.

OVERVIEW: "After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano namesake studio on E. 22rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener' attention with a chugging drum lead by The African International's King Tuch setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evi claims t's own space as a musical melting pot and reflects the excitement Boadi waslearningto harness as a musician in his newfound home of Chicago."

Zopelar arrives on Tartelet with Charme - an album of effervescent machine funk harking back to a golden era of Brazilian party music, releasing October 21st.

The era of interest for Sao Paulo’s Pedro Zopelar begins in the 1980s in Rio de Janeiro, when a particular phenomenon caught on at suburban parties which became known as Charme. “Charme was like a mix of slow boogie, RnB and new jack swing,” explains Zopelar. “DJ Corello started calling ‘charme’ the moment of the party when he played slow grooves and felt that the people started dancing differently, with sexier synchronized moves. Some years later, charme evolved from an awaited moment of a night to a whole movement of parties just playing that kind of music. On this record I tried to make something that brings this emotional feeling to my music in a modern way.”

Much like the original genre-not-genre he drew inspiration from, Zopelar’s approach across his latest LP spans different moods and tempos. There’s blissful, sultry mystery lingering around ‘Clara’ and ‘Do You Feel?’ while OSAGIE lends some chops to the exquisite, Rompler-powered synth funk of ‘Chain Net’. The lead singles ‘Shibuya’, ‘Charme’ and ‘Passado’ all tap into varying shades of deep house, from slinky City Pop-tinted loungers to peak-time dance pop and Larry Heard-influenced flavours, with the constant being Zopelar’s immaculate production and the unbridled warmth of his compositions.

Continuing the Latin-rooted theme of the album, the artworkconception of Charme was realized by multidisciplinary artist and curator Ode, showcasing a popular style of street paintings made by anonymous artists throughout Latin America. It’s not about graffiti-culture but a popular solution utilized by small restaurants, bars and other establishments to use their own walls for commercial purposes, hiring artists to paint food and drink menus or other information about their products.

With an emotional sincerity stemming from his move to reconnect with the Brazilian dimension of his creative background, Charme arrives as Zopelar’s heartfelt celebration of life and music, of sentimental moments shared and good times enjoyed.

A joint release between Discos Nada & Litoral. One of the first independently released Brazilian records, Alcides Neves’ debut LP ‚Tempo de Fratura’ is reissued for the first time on vinyl, alongside his second release ‚Des (Trambelhar) Ou Não‘.

Hailing from the Brazilian North East, Alcides Neves released his debut album a few years after moving to São Paulo, in 1979. The LP’s release coincided with the emergence of the city’s seminal Vanguarda Paulista movement, which led some researchers to locate Alcides within the movement. As the artist himself affirms; however, he did not fit into any established musical movements, and while it is perhaps possible to identify some influences, it is not possible to consider his music as belonging to a specific lineage either.

Alcides’ singularity and experimental disposition is on full display on his opening album, which revels in its own disformity and lack of external interference, made possible by releasing the LP independently.

The album translates to ‚Time of Fracture‘, a fitting moniker for the context in the final years of the Brazilian military dictatorship. The eleven songs that comprise the album are proof that the album was not named randomly, showcasing a broad range of both experimental and folk influences, while also including lyrics that originally did not get past federal censors.

Carefully remastered by Paulo Torres with updated original artwork, the record is reissued in a gatefold sleeve including a promotional image from the time of release. This LP furthermore includes an insert with a text written by the journalist and researcher Bento Araujo, editor of the bimonthly publication ‚Poeira Zine‘ and author of the ‚Lindo Sonho Delirante‘ series of books.

A joint release between Discos Nada & Litoral. Alcides Neves’ unique second LP ‚Des (Trambelhar) Ou Não’ is reissued for the first time on vinyl, alongside his first release ‚Tempo de Fratura‘.

Somewhat of a concept album, this LP was conceived as having a predominantly experimental A-side and a more folky B-side, with songs influenced by Alcides’ native Northeastern Brazil. Alcides chose to release his second record independently as well, owing to the risk-averse nature of the labels at the time. Indeed, rather than adapting to the demands of the labels and making more romantic or commercial music, Alcides went in the opposite direction and released the most experimental record of his career.

The result is an album with distinct identities on each side but with an experimental bent throughout. The LP’s sounds are reflected by its striking cover, which collates some of Alcides’ artistic heroes - Frank Zappa, Gilberto Gil, Jimi Hendrix, Arnold Schönberg, Igor Stravinsky (to whom he also dedicated a song on the LP) among others, above an artwork in the style of Northeastern Brazilian folk art.

By blending traditional regional Northeastern elements with an experimental approach and influences from 20th century classical music, Alcides Neves crafted one of the most unique Brazilian records.

Carefully remastered by Paulo Torres with updated original artwork, the record is reissued in a gatefold sleeve including a promotional image from the time of release. This LP furthermore includes an insert with a text written by the journalist and researcher Bento Araujo, editor of the bimonthly publication ‚Poeira Zine‘ and author of the ‚Lindo Sonho Delirante‘ series of books.

Enjoy the major musical themes from Disney movies: from "Frozen" to "The Jungle Book", this collection will take you deep into the marvellous and fantasy worlds imagined by Disney.

Der Radiohead-Frontmann meldet sich solo zurück Thom Yorke veröffentlicht sein neues Album "ANIMA".
Passend zum Album hat der preisgekrönte Regisseur Paul Thomas Anderson einen Kurzfilm gleichen Namens gedreht, der am 27.06.19. um 21.00 seine Premiere bei Netflix feierte. Der 14-Minüter enthält drei Songs aus Thom Yorkes neuem Album. "ANIMA" wurde von Thom Yorke geschrieben und von Nigel Godrich produziert. Das Album beinhaltet 9 Tracks und auf der Vinly-Version einen exklusiven Bonustrack.

Ultramarine & Anna Domino meet again for a reworking of their collaborative track '$10 Heel'.

The song originally appeared on the Ultramarine album Signals Into Space (Les Disques du Crépuscule, 2019). $10 Rework replaces the urgent, jittery rhythm of the original with a straighter House backbone and then proceeds to disassemble the structure with a pair of freestyle, hands-on-the-desk, on-the-fly dub mixes.

Anna Domino's stream-of-consciousness lyrics tell the impressionistic tale of post-club after-hours chaos in Times Square, NYC circa 1979. Anna raps off studio equipment brand names like passing neon signs glimpsed in a blur through a taxi cab window.

Iain Ballamy wields his saxophone like a graffiti artist with a spray can; scrawling and skronking across the canvas. Ric Elsworth lurks in a side alley, unraveling a trash can monologue of wild flamming bongos.

Ultramarine is the UK duo of Ian Cooper & Paul Hammond. Formed in 1989, their albums include Every Man and Woman is a Star (Rough Trade, 1991), United Kingdoms (w/ Robert Wyatt) (Blanco Y Negro, 1993) and Signals Into Space (w/ Anna Domino) (Les Disques du Crépuscule, 2019).

Anna Domino is an American musician based in LA and NY, best known for her classic run of releases on Belgian label Les Disques du Crépuscule in the 1980s and '90s.

Iain Ballamy is a composer and saxophonist; a member of the Loose Tubes collective in the 1980s and more recently with several albums to his name on ECM.

Ric Elsworth is UK-based percussionist and vibraphone player.

500 Copies only on 180gm Heavyweight Classic black vinyl. Colour sleeve with printed disco bag/inner sleeve. Andy Crofts rounds up his Colorama artists on Volume 1 of this uber cool and eclectic compilation. The brainchild of Andy Crofts from the Paul Weller band the Colorama record label was set up initially as a vehicle to release records from Andy's own band The Moons but always with the ambition to champion the art of the songwriter and build an eclectic roster of like minded bands and musicians. Building on the critically acclaimed 'Pocket Melodies' from The Moons came the album 'Love & Chemicals' from Teenage Waitress and a new addition to Colorama Bristol DJ & Promoter John Britton joining Andy in the search for artists to join this burgeoning boutique label. The search culminated in the album you are now reading about 'THIS IS COLORAMA! VOL. 1' a collection of tracks from The Moons, Teenage Waitress, Sunzoom, Bliss Williams, Tiny Dyno, Duvet Daze, Pale Sabres, Wilderman, Chris Watson, Robi Mitch, Eloise, The Lunar Towers, Reid Anderson, Andy Crofts & Le SuperHomard which offers a diverse melting pot of genres with a common theme, to deliver memorable verses, hooks and choruses.

AMRA, the collaborative project between Paul Purgas (Emptyset) and artist and filmmaker Imran Perretta, continue their excavations into syncretic mythologies, diasporic echoes and ancient rhythmic talas. hills/demons ruminates on spectral landscapes whilst bringing together a wider group of collaborators, forming a collection of dense percussive polyrhythms alongside sitar improvisations from British-Pakistani multi-instrumentalist Nabihah Iqbal and guest vocals from Bangladeshi singer Sohini Alam. Developed for a performance with the London based commissioning platform Artnight, the release expands on AMRA's exploration of archival traces and the struggles that marked South Asia's partition, summoning alternative histories and the echo of ancestral voices.

Peter Gregson, renommierter Komponist, Cellist und Exklusivkünstler bei Deutsche
Grammophon, präsentiert sein sechstes Studioalbum Quartets: Three and Four. Das Album
bildet den Nachfolger seiner 2016 und 2017 erschienenen EPs Quartets: One und Quartets:
Two und schließt den konzeptionellen Kreis des Komponisten, ein „Quartett aus Quartetten“
zu kreieren.
Die ersten beiden EPs, aufgenommen in den Londoner AIR Studios, zeigten eine Bewegung des
Komponisten ausgehend von einem rein akustischen Gesamtklang auf Quartets: One hin zur
Verwendung von Synthesizern als weitere instrumentelle Ebene auf Quartets: Two. Auf dem neuen
Album, das die verbleibenden zwei Quartette einschließt, entwickelt Gregson seine Ideen zu Sound
und Aufnahmen auf der ersten Hälfte des Albums – Quartets: Three – weiter und fügt sogar noch
mehr elektronische Effekte hinzu, um reichhaltige Schallstrukturen zu erschaffen. Während er auf der
zweiten Hälfte – Quartets: Four – zu einem rein akustischen Setup in eine eher klassische Klangwelt zurückkehrt. Quartets: Three and Four wurden in Paul Epworths The Church Studio und im Abbey Road Studio
3 aufgenommen. Das Album erscheint am 11. November digital, zusammen mit der Veröffentlichung einer
Deluxe-Version, die alle vier Quartette auf CD oder Vinyl vereint.

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Postaeolian Train RobberyI is an obscure classic from the 1970's Belgian jazzy prog scene that has become a much sought after piece in the collector's market since it was originally released in 1974. Highly inspired by both the UK's Canterbury scene and the Zeuhl sound, the debut album by Cos has been compared to the likes of Soft Machine, Gong, Hatfield & The North, National Health, Gilgamesh, Egg, Placebo, Magma or Zao, with Pascale Son's unique wordless vocals and nonsense syllables singing in a voice that some sources have compared to Flora Purim's.The album was released on the small obscure label Plus, and has arised interest not only among prog-rock psych-heads and jazz experimentalists, but also among those looking for breaks and bits to sample.



The Wah Wah reissue comes housed in a beautiful reproduction of the original gatefold sleeve, featuring a 4-page image booklet and an insert with photos and liner notes. Mastered from the original tapes. We did the first official LP reissue with its original sleeve of this album some time ago and it sold out so soon that many of you has been asking for a reprint since - here is another 500 copies, again licensed from and with the collaboration of Daniel Schell.



Comes with a reproduction of killer original poster.

Robert Groslot's Concerto for Bass Guitar and Orchestra represents the
next step in the evolution of the bass guitar
Groslot's composition pushes the instrument to its technical limits, while creating
a unique symbiosis between the soloist and the orchestra. Although he may not
be the first composer to write for the bass guitar in a symphonic setting, Groslot
brings a level of artistry and sophistication to the composition that will continue
and accelerate the legitimation of the bass guitar within contemporary classical
music. "The idea of a concerto for bass guitar is something that I have been
dreaming of for decades. Since its invention, the bass guitar has firmly
established itself as an essential and integral part of practically every genre of
music. The bass guitar, as we now know it, was invented and produced by Leo
Fender starting in 1951. The more portable bass guitar, in comparison to the large
and unwieldy double bass, was capable of playing at higher volumes via
amplification and satisfied the new sonic demands created by the widespread
use of electrification in popular music. By increasing the overall scale of the
electric guitar and only using the lowest four strings (E, A, D, G), Fender gave birth
to a new instrument. Traditional double bassists could quickly adapt, with the
added benefit of more accurate intonation due to the frets. Hence the original
name: The Precision Bass. At the same time, guitarists could also become bass
players when called upon. As a result, many of the early bass guitarists began
their musical life as guitar players, with the most well-known example being Paul
McCartney of The Beatles.
The fact that the bass guitar had no direct lineage like the evolution of the piano
or violin over time, led to a variety of disparate playing styles without any
fundamental methodology. Unlike the more traditional instruments, the bass
guitar does not sit upon a foundation of centuries of proven methods and
established schools of playing. The evolution of the bass guitar has been a
patchwork of trial and error by active musicians. This has led to a plethora of
personal approaches and hybrid-styles, effectively leading to the rapid evolution
of bass guitar technique. Given its relatively young history, it is remarkable how
the bass guitar has grown from being an instrument taken up out of necessity, or
as an afterthought, to being as respected and vital to modern music as any of the
older, more established instruments." - Thomas Fiorini

Muireann Nic Amhlaoibh & Irish Chamber Orchestra have breathed new life into the noble, classical songs of our ancestors with this new album, R is n Reimagined.The sean n s tradition is undergoing a revival During lockdown, award- winning singer Muireann Nic Amhlaoibh's renditions of classic sean n s songs such as An Ch ilfhionn or R is n Dubh introduced a new generation of listeners to these melodically complex and richly ornamented songs. Now Nic Amhlaoibh joins the Irish Chamber Orchestra for R is n
ReImagined, an exciting new project that pairs her peerless vocals with fresh
orchestral arrangements of sean n s songs. Kilkenny Arts Festival and the Irish
Chamber Orchestra have co- commissioned special arrangements from six
leading Irish composers: Cormac McCarthy, Paul Campbell, Linda Buckley, Sam
Perkin, Niamh Varian- Barry and Michael Keeney. Produced by D nal O'Connor,
Roisin ReImagined explores the connections between classical and traditional
music, and reimagines these timeless songs for a new era. These works typically
date from the 16th-19th century, and bear the hallmarks of high art and learning.
In many instances, they bear witness to the artistic culture of Gaelic Ireland,
which was under siege and endangered; the high art of their era. Amongst them
are classics such as R is n Dubh, An Ch ilfhionn, Sl n le M igh & An tSeanbhean
Bhocht. Nic Amhlaoibh's distinct voice and outward- looking approach has
elevated these songs to yet another level through this project, and along with the
Irish Chamber Orchestra and producer D nal O'Connor, she has given a platform
to a tradition that gives a deep insight into the Irish psyche. These sean-n s songs
emerged from a practice that was part of a wider European and international
culture, and this project will resonate with people from every corner of the world.
The new incarnation of these old songs is a beautiful, uplifting sonic journey,
especially for those fortunate enough to experience it live, and is sure to leave an
imprint on the consciousness of the Irish song tradition.

In May of this year we invited both Sister John and The Bluebells to
spend a day in Green Door Studios - We also charged them both to cover
one of the others songs
The Bluebells chose "Glasgow Is A Rainbow" from Sister John's "I Am By Day"
whilst the latter chose the formers "Young At Heart" - brave decision ?Both songs
were recorded by Ronan Fay then mastered by Paul McGeechan.

180gm Clear Vinyl housed in a 3mm wide spine sleeve with printed
inners, Remastered by Alchemy Mastering At AIR from the original
production tapes
The Selecters's second album, Celebrate The Bullet was released in February
1981 as the follow up to the successful 2 Tone debut album Too Much Pressure,
along with the hit singles On My Radio, Three Minute Hero and Missing
Words.Switching labels to Chrysalis Records, the band returned to On My Radio
producer Roger Lomas, moving into a more melodic slower pace, whilst keeping
their lyrical commentary on racial and social issues. Original members Desmond
Brown and Charley Anderson departed before the recording began, with Lomas
and Norman Watt- Ray (Ian Dury) helping on bass before new members James
Mackie and Adam Williams joined to complete the recording.
Due to unfortunate timing, upon release the title of this album was
misunderstood due to the recent murder of John Lennon and an assassination
attempt on U.S. President Ronald Regan meant radio stations didn't support the
single or album and the release was largely ignored.
This forgotten classic from the 2 Tone era is a timely reissue and will give time
for a re- evaluation in the same way the 2021's reissue of too Much Pressure
showed the band as relevant.
Pauline Black, who was recently awarded an OBE in 2022, and the band will be
touring in November 2022 and into 2023 performing the album in full along with
selections of their previous album.

White Vinyl LP. RIYL: Aldous Harding, Jenny Hval, Marlon Williams, Joni Mitchell, Leonard Cohen. Revered Sydney songwriter Laura Jean returns with new album Amateurs, her first record since the much-celebrated Devotion in 2018. Amateurs is a stunning, string-laden album, set at a mystical midway point between the deep synth-pop of Devotion and the folkier sounds of Laura’s earlier work. The album features backing vocals from Aldous Harding and Marlon Williams on three songs (Teenager Again, Amateurs and Folk Festival). Laura worked with producer Tim Bruniges around Sydney’s long 2020-2021 lockdowns. Erkki Veltheim (Gurrumul, Cat Power) arranged gorgeous strings for the album, which were recorded in Melbourne by Devotion producer John Lee. Amateurs is an album about anti-art and anti-intellectual culture in Australia (but applies equally to other parts of the world). It sees Laura questioning her role as a songwriter and examining the reality of her choices to prioritise art over other parts of her life. It is also a warm hearted, humorous and sonically breathtaking album. “Amateurs means to do something for love, not money, and somehow it’s become a dirty word, shorthand for a failure,” says Laura. “These songs arise from my acceptance that I will always be an ‘amateur’.” 2018 album Devotion had superlative reviews from Pitchfork, Gorilla Vs Bear and elsewhere, and made it into end of year lists for Spin, Idolator, Apple Music and more. Laura also acquired some high-profile fans such as Lorde and actor Brie Larson. She did two UK/Europe tours in 2018-19 with Courtney Barnett and Aldous Harding. Laura has twice been shortlisted for the Australian Music Prize and has recorded with Jenny Hval as well as Aussie icons Paul Kelly, The Drones, and Rolling Blackouts Coastal Fever. “Maybe the sharpest communication of the spooky, all-consuming nature of feminine love” – Lorde. Selling Points: Backing vocals on three tracks from Aldous Harding and Marlon Williams. Sumptuous string arrangements from Errki Veltheim, who has played with everyone from Cat Power to Mike Patton. Laura featured on Jenny Hval's 2019 album The Practice Of Love, and Jenny sang on Laura's self-titled album from 2014.

The Jak has returned with 2 new Dirty bLends in extremely limited quantity.

Introducing nU cOhort to the label:

The Falcon(a silent assassin)

this new artist alias to the label has contributed to the further effort
of maintaining the sound from the early inception of chicago tracks like the days of old that still lives and breathes in us today that honors and treasures enriched essential dance music history.

DirtyBlends Edition 7 both sides IZ straight HEAT!

The Jak kicks the A-Side into madness with a Jakbeat blueprint of energetic electronics and various bass lines on this obscure creation honoring Ron Hardy, Frankie Knuckles and Farley that resonates a confrontational question repeatedly saying “Who said i can’t beat U for the title track ‘An Offbeat Formation of Control’

The Falcon Flys fiLthY iLL on the B-Side wit a whiPLash idea influenced from Chicago’s south-side of rhythm styles Paul Johnson and Chip E!!! made 2 Jak 4 Crazies that is truly Definitive Jakbeat.

restock

RON TRENT follows up his first "SPACES AND PLACES" 12" (FVR017) with this stunning new house single on his own MUSIC AND POWER imprint. The A-side is "SAO PAULO SOUND SYSTEMS" b/w "NEW YORK CITY COUNTRY CITY". Full color labels featuring the tag "There was a time when music meant everything".

Reissue of the oud / viola virtuoso SIMON SHAHEEN's interpretations of pieces by one of the Middle East's most important 20th Century composers, MOHAMED ABDEL WAHAB. Produced by BILL LASWELL, remastered for vinyl at D&M Berlin.

MOHAMED ABDEL WAHAB (1902-1991) was "a giant in the world of Middle Eastern entertainment" (Al Jadid Magazine) - as singer, actor and composer – and is commonly considered "the father of modern Egyptian song". After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie "The White Rose" in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, WAHAB left the film industry to focus on singing and composing – he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as WAHAB was open to Western elements such as waltz rhythms or even rock'n'roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. WAHAB received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture!


SIMON SHAHEEN (born 1955) is the perfect choice for WAHAB's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of 5 and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. SHAHEEN lives in New York where he founded the Near Eastern Music Ensemble and Qantara, a formation that blends traditional Arabic Music with elements of Jazz and classical music, and he also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. The same year he received a National Heritage Fellowship from the National Endowment for the Arts at the White House. Solo albums like Saltanah (Water Lily Acoustics), Turath (CMP) or Taqasim (Lyrichord) underline his importance as one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. SHAHEEN has participated in many cross-cultural musical projects with artists as diverse as Henry Threadgill, Vishwa Mohan Bhatt, or the Jewish klezmer ensemble The Klezmatics, contributed to the soundtracks for The Sheltering Sky and Malcolm X and composed the entire score for the United Nations sponsored documentary, For Everyone Everywhere, celebrating the 50th anniversary of the United Nations Human Rights Charter. SHAHEENS biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards.

Besides all his activities as performer, he dedicates a good part of his time to working with schools and universities, including Julliard, Columbia, Cornell, Princeton, Brown, Harvard, Yale, University of California in San Diego, University of Michigan in Ann Arbor and many others.
The Music Of Mohamed Abdel Wahab was originally released in 1990 on Axiom, the record label curated by iconic producer and bass player Bill Laswell, and has been carefully remastered for this vinyl reissue at D&M, Berlin.


Press quotes:
"Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces … seven wonderful interpretations sparkling with oud and strings interplay." Stephen Cook / AllMusic


"Shaheen's violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparkling clarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop." Greg Kot / Chicago Tribune


Musicians:
Simon Shaheen: Oud, Violin, Viola
Najib Shaheen: Oud
Sheikh Taha: Accordion
Anton Hajjar: Ney
Paula Bing: Flute
Ramzi Bisharat: Tabla
Hanna Mirhige: Mizhar
Michael Baklouk: Daff
Bobby Farah: Sagat
Ibrahim Salman: Quanoun
Artemis Theodos, Gabriel Palka, Nessim Dakwar, Kamil Shajrawi: Violin
Mike Richmond: Double Bass
Michael Finkel, Vladimir Greenberg: Cello
Laura Shaheen, Louise Salman, Maurice Chedid, Nermine Rawi,
Simon Shaheen, Youssef Kassab: Chorus

Including wanted vinyl tracks by Paul Kalkbrenner, Tori Amos, The Knife, Trentemøller, Yeah Yeah Yeahs, Goose, Zombie Nation and Bomfunk MC's.

50th Anniversary Reissue! With the original gatefold layout plus all lyrics, new liner notes plus an interview with vocalist Harri Saksala. The album has been remastered for vinyl by Finland's premier progressive rock specialist Pauli Saastamoinen at Finnvox. Kalevala and especially their debut album People No Names is a prime example of a record that should've been big, sold only a handful and only later on was reappraised as the masterful progressive rock epic that it is. Originally released 50 years ago on Finnlevy, then one of the largest labels in Finland, and not marketed at all, there were not more than 500 copies of the album pressed. When people finally realised the quality of the music on this piece of wax, prices for original copies on the second hand market went blasting through the roof and eventually into four figures. Kalevala's story began at the turn of the new decade in 1970, and they played Cream-style hard rock with a power trio lineup. The band's founding member Remu Aaltonen was kicked out the following year, and a renewed lineup immersed themselves in progressive rock. People No Names was released in 1972, and eventually Finnlevy had no idea what to do with this kind of difficult new youth music. This 50th Anniversary reissue is put together with the approval of original vocalist Harri Saksala The album is remastered for vinyl by Pauli Saastamoinen at Finnvox.

Was vor rund einem halben Jahrhundert mit Straßenmusik irgendwo in der spanischen Provinz begann, das
hat sich längst zum weltweiten Kult entwickelt.
Nachdem die Kellys mit den beiden Top 1-Alben „We Got Love“ (2017, 5-fach Gold) und „25 Years Later“
(2019) vor wenigen Jahren ihre triumphale Rückkehr ins Rampenlicht feiern konnten, schlagen Kathy, Patricia, Jimmy, Joey, John und Paul nun mit ihrem kommenden Longplayer „Christmas Party“ (04.11.) das
nächste Kapitel in der Geschichte der Kelly Family auf. Das erste Weihnachtsalbum seit 1994! Das Album
wird 16 Tracks enthalten: Neue Kelly Weihnachtssongs, traditionelle Weihnachtslieder und natürlich auch
ein paar Kelly Klassiker neu aufgenommen und modern arrangiert! Das perfekte Weihnachtsalbum für
die ganze Familie. Mit den beiden selbst geschriebenen Singles „Peace On Earth“ und „Those Were The
Days“ haben die Kellys in den letzten Monaten bereits zwei stimmungsvolle Vorboten ihres neuen Albums
veröffentlicht. Als drittes Outtake erscheint am 21.10. „Grateful“ gemeinsam mit Musiker-Legende Ronan
Keating, mit dem die Kelly Family ihrem Publikum positive Gedanken in einer besonderen Zeit schenken
möchte. ”‘Grateful‘ heißt ‘dankbar‘ - wir wollen damit das in den Fokus stellen, was wir haben. Nicht das,
was uns fehlt. Erst, wenn man anfängt über Dankbarkeit nachzudenken, wird einem richtig bewusst, was
man eigentlich hat im Leben.” (Patricia Kelly)

yellow marbled vinyl

The Snake, Ghost, and Demon reconvene for Samurai Hannya II, a supercharged sequel to the 2019 inaugural collection of Samurai Music's current finest outer edge constructions.

Alongside the established Samurai family of producers, Hannya II ushers in some notable names to the Hannya series in Mako, Eusebeia, and introduces some future ascendants - RDG (with Gaze Ill and Ojeblik), Hoji, & Dailiv.

The cryptic Hannya concept is elevated for Vol II with an exclusive luminous illustration by David Paul Seymour as we step further into our exploration with colours.

Samurai Hannya II comes on 3 individual marbled 12"s in Full Artwork Sleeve and Digital

green marbled vinyl

The Snake, Ghost, and Demon reconvene for Samurai Hannya II, a supercharged sequel to the 2019 inaugural collection of Samurai Music's current finest outer edge constructions.

Alongside the established Samurai family of producers, Hannya II ushers in some notable names to the Hannya series in Mako, Eusebeia, and introduces some future ascendants - RDG (with Gaze Ill and Ojeblik), Hoji, & Dailiv.

The cryptic Hannya concept is elevated for Vol II with an exclusive luminous illustration by David Paul Seymour as we step further into our exploration with colours.

purple vinyl

The Snake, Ghost, and Demon reconvene for Samurai Hannya II, a supercharged sequel to the 2019 inaugural collection of Samurai Music's current finest outer edge constructions.

Alongside the established Samurai family of producers, Hannya II ushers in some notable names to the Hannya series in Mako, Eusebeia, and introduces some future ascendants - RDG (with Gaze Ill and Ojeblik), Hoji, & Dailiv.

The cryptic Hannya concept is elevated for Vol II with an exclusive luminous illustration by David Paul Seymour as we step further into our exploration with colours.

On August 26th Gwilym Gold releases his third album, Blue Garden, on SA Recordings. Alongside the record we are pitching the beautiful Blue Garden. Gwilym began playing improvised music as a pianist and may be fondly remembered as the singer and keyboardist in psychedelic pop trio Golden Silvers but has since worked widely as a soloist. 2012 saw the release of his high-concept solo piece Tender Metal which was composed and released using Bronze; a new music technology which Gold created with producer Lexxx alongside Mick Grierson. Using Bronze, a song is enabled to rebuild itself on each playback from the musical seeds and ground sown by the writer. Music composed with Bronze is not restricted to just one playback possibility, it is a dynamic, ever-transforming representation of itself where the artist builds a new model as part of each song’s writing process. Gwilym has since collaborated with artists such as Arca, Jai Paul, Philippe Parreno and Nicolas Becker, introducing them to this new technology. One of the hopes for Bronze is that it brings some of the characteristics of performance back into previously inert musical documents, and alongside his work with Bronze, Gwilym has maintained a wide performance practice. Performing recently alongside musicians such as Dave Okumu, Tom Skinner and Lucinda Chua and collaborating with artists Eddie Peake and Holly Blakey. His two recent collections of songs, A Paradise and Sky Blue Room, stem from this, the second being recorded almost entirely live in three days alongside Okumu and drummer Dan See. Blue Garden is Gwilym’s first collection written and recorded entirely in solitude and he hoped to unburden the process of anything beyond the most primary elements. Setting up a sort of hybrid harp in a small isolated room, the aim was to let the songs flow out unadorned and record them as they were. The only addition to the album is the accompanying sound of rivers and birdsong by sound recordist and founding member of Cabaret Voltaire, Chris Watson. Gwilym started to play the new album alongside Watson’s recording ‘The Drinking Boy’ which led him to reach out to Watson. Gwilym explains “I played it to a friend once I had recorded it with Chris’ field recordings, they said it almost sounded like the quarantine birds, there was a feeling of it being a little sanctuary”. The songs on Blue Garden were written during a bittersweet time, where Gold was experiencing moments of love, loss and rebirth. The album is a loose and abstract exploration of love in all its forms, how familial, platonic and romantic love are all intertwined.

Sieben Jahre nach ihrem sehr erfolgreichen dritten Album HURRICANE kehren sie mit ihrem neuen Meisterwerk ROCK AND ROLL BONES
zurück!
Die Pause war das Ergebnis intensiver Tourneen, des Schreibens des neuen Albums und der Pandemie! ROCK AND ROLL BONES wurde von Gitarrist Paul Hurst und seinem Partner Anthony Brady produziert, der auch das Album gemischt hat! Es ist ein Album voller herrlicher, flüssiger
Lead-Gitarren-Licks, lebendiger, ausdrucksstarker Vocals, grooviger Basslinien und knackiger, krachender Drums sowie einer Menge eingängiger
Hooklines. Sie klingen wie eine gesunde Mischung aus CHICKENFOOT, AC/DC und THE BLACK CROWES. THE JOKERS, die aus dem Nordwesten
Englands stammen, wurden 2006 mit dem Ziel gegründet, die größte Rock'n'Roll-Band der Welt zu gründen. Ihr 2009er Debütalbum THE BIG
ROCK & ROLL SHOW wurde von Mike Fraser in Vancouver gemischt, direkt nachdem er das über 10 Millionen Mal verkaufte BLACK ICE-Album von
AC/DC gemischt hatte. Nach der Veröffentlichung verbrachte die Band zwei Jahre auf der Straße und baute eine beachtliche Fanbase auf, als man
mit Größen wie HAWKWIND, Y&T, JOE ELLIOT, ARGENT, ANVIL und FOZZY unterwegs war. Danach taten sie sich mit Produzent Andy Macpherson
(ERIC CLAPTON, THE WHO, BARCLAY JAMES HARVEST, THE BUZZCOCKS, etc.) zusammen und begannen ihr zweites Album ROCK 'N' ROLL IS ALIVE
zu schreiben, welches im September 2013 veröffentlicht wurde.
Exzessives Touren war damals schon ihr Ziel. Sie spielten jede Show, die sie bekommen konnten und machten ihre erste Headliner-Tour in Spanien
mit 17 Shows, bevor sie auf mehreren Festivals in Großbritannien spielten.
Ihr drittes Album HURRICANE erblickte 2015 das Licht der Welt. Gefolgt von Tourneen, Tourneen, Tourneen. 2018 begannen sie ROCK AND ROLL
BONES zu schreiben und aufzunehmen. Aber der Beginn der Pandemie machte alle Pläne der Veröffentlichung zunichte. Deshalb beschlossen
sie mit der Veröffentlichung zu warten bis dies vorbei war und sie nach der Veröffentlichung das tun können, was sie am besten können, nämlich
touren!

repress

Levon Vincent returns with his fourth full-length studio album Silent Cities a striking departure from his previous records. This, his first release experimenting with the cassette format, Silent Cities is a kind of mixtape through more private moods and personal pitches (literally given Levon’s non-standard tunings).

While Levon has always pro
duced dance floor jams with the intention of raising people’s heart rates, Silent Cities began with 72 bpm: his average resting heart rate, and the concept of tuning the music he was making to his own body rather than increasing anything. This brought the tempos down to 72 bpm or even half of that, at 36bpm. Programming the record during the empty cityscape of Berlin lockdowns, this is the first time Levon’s created an album for the home stereo or for headphone listening whilst navigating through a city. A mixtape specialist in his youth; he was always wanted to play with the cassette format. The results are sure to delight any listener, with the ever-present ambient, krautrock, shoegaze, hip-hop and electro influences coming to the foreground on this work.

“I was expanding further along the lines of a surprise favourite from my previous LP, a song called She Likes To Wave To Passing Boats which was not a 4 on-the-floor piece to play in clubs but a more impressionistic piece of music that I wrote to expound some emotions one day” says Levon. “It was a song written using just intonation. I really love how warm the pure 4ths sound, so when working on the new LP Silent Cities I decided to use my own tunings”.

Historically, the use of just intonation has meant that such instruments could sound "in tune" in one key but at the expense of more dissonance in the other keys. None of the songs on Silent Cities use standard Western equal temperament, Levon created his own scale designs coupled with the ancient ratios found in just intonation.

Born in Houston in 1975, Levon’s life changed dramatically when his parents moved their family to New York in 1981, uprooted from what he knew, the shock, the change from Houston to New York at 6 years old, is referred to constantly in Levon’s Musical output over the years. Levon's family moved houses in and around NYC from 1981 -2010, never more than a mile or two from the WTC. He lived on the Lower East Side during his teenage years and early 20s. This time period and this locale are also a big theme recurrent in his music as he tries to convey how the "downtown" lifestyle and culture-melding affected him so much at a tender age. He cut his teeth working in record shops around lower Manhattan, and while working at the Halcyon Record shop in Brooklyn he (alongside DJ Jus-Ed) was instrumental in creating the wave that came to be known as the "NYC House Renaissance" circa 2010. During the Y2K years he studied 20th C post-minimalism at Purchase college of New York under James McElwaine (who tangentially produced Man Parrish’s Self-Titled proto-hip-hop debt LP). Levon was fortunate to study theory with avant-garde composer Dary John Mizelle and orchestration under conductor Joel Thome. He undertook masterclasses with Philip Glass and also served as intern for John Kilgore, engineer for Steve Reich, where he was present for notable mix sessions such as “Violin Phase.”

Post-minimalism clearly remains an influence not to mention the early sampler stars of 80s freestyle and synth pop. Mixing such far-reaching influences is something Levon executes tremendously well. The first track Everlasting Joy moves at a head nodding 96 BPM tempo, reflecting formative influences like Paul Hardcastle’s Rainforest or Art Of Noise’s Moments in Love. “Those types of songs were a big eye opener for me as a youth, because it was where I realised songs in popular culture didn’t have to be kept to just 3 minutes, and they didn’t require vocals either. So, Everlasting Joy is a song with that intention, one that might be radio-friendly, despite the long arrangement and without vocals. You could say it was inspired by 107.5 in NY because that was a station I listened to a lot in the 1980’s.”

The majority of demos on Silent Cities were recorded before Covid-19 hit the world - when Levon had found a studio space outside of home in his adopted city of Berlin. It was a career first - working on music outside the bedroom. This riding the train or bicycling ‘going to work’ in Berlin opened up a new mood in his music, using the time back and forth to be inspired - commuting as an NYC transplant who still feels as a tourist in Berlin, with a pair of headphones, looking out the window on the train, or stopping on bridges and parking his bike to enjoy Berlin's skyline and horizon. Then, the pandemic struck and “work” came to a halt. Levon had recorded so much material during that year in the studio out of house it seemed like an inflection point for him to lighten the burden of the possessions he was carrying.

“People close to me have watched me give away synths and hardware regularly and I have given away my record collection every few years for my whole life. As a struggling artist in my 20s who had worked in record stores that whole time, I learned that moving constantly with 12k records just wasn't the way to live. So, in light of the pandemic, I set up a shop online, and sold all my music equipment. I also created a separate shop for all my sneakers and clothes. Easy come, Easy go. This provided me with a slow drip type of income that carried me quite well through the pandemic and it allowed me to focus on my own art and music. Getting rid of all my possessions felt like a weight being lifted from my shoulders and I was able to stay the course and remain committed to the music. I needed a further 2 years to mix and arrange the LP. If it weren’t for the pandemic, I would not been able to make this type of LP, so in light of everything, I was able to turn a depressing time in to something lasting and musically very positive.”

You can hear how his approach to a cassette release retains the "Medium is the Message." ethos. Silent Cities is a spooling, warm piece about life memories and embodiment.

Describing herself simply as a ' modern English musician', Eliza Carthy is
one of the most recognisable faces in British folk
From the purest unaccompanied traditional songs to original music incorporating
myriad influences, she has moved through English folk music like a force of
nature, both stirring it up & putting it back on the map, and as a member of big
bands The Imagined Village, and the musical force- of- nature that was The
Wayward Band she has headlined main stages at festivals around the world. With
a wealth of musical & life experience under her belt, Eliza's talent has matured
and is flourishing. She continues to bring new audiences to English folk through
well- judged recordings, performances, and collaborations with the likes of Paul
Weller, Jools Holland, Patrick Wolf, and Kae Tempest. 2022 sees Eliza celebrating
an incredible 30 years in the music business with album Queen Of The Whirl,
featuring new interpretations of fan- selected favourites from her previous
albums, recorded with her band Eliza Carthy & The Restitution.

Red vinyl LP. Lars Finberg, confirmed genius guy and poet laureate of sunken 21st century Rock, acts as manager in perpetuity of THE INTELLIGENCE, primary vehicle for his prolific creative swirl and a project that has taken on new shapes across myriad trials and shifts. The project began in his Seattle bedroom – a lad and his Tascam cassette 8 track – with the classic Boredom & Terror and has now landed in his Los Angeles studio apartment – an urchin and his Tascam digital 12 track – with Lil’ Peril, a new album that finds Finberg 1000% back at the controls. Over the course of 11 albums (!), The Intelligence has established a backbone that boogies through revolutions, allowing each jam-crammed dispatch to feel and sound admirably unique. The angular sharp shocks heard in earlier years have steadily evolved into the ballooning grooves heard on more recent releases (including Finberg’s recent solo work). Lil’ Peril is a dreamy gamble that captures this current bubbling penchant in The Intelligence’s inaugural homemade mode. With inspirational templates as far-flung as LES PAUL, THE SPECIALS, LEE PERRY and MARY FORD, Lil’ Peril pulls off the absurd shift “from ‘No-Wave SANTANA’ to ‘SCREAMERS recorded by JON BRION’”. Playing shoulder parrot to studio engineers has no doubt informed Finberg’s approach to home recording, specifically in how much further he can go without wincing budget-minded eyes staring him down. This is immediately sensed on the opener “Maudlin Agency,” which begins with canned minimal bleep and closes with a full recreation of the “Brass Monkey” hook. These surprise-attack conclusions are a running current throughout the Lil’ Peril’s program and demonstrates that the main lesson Finberg has learned in The Intelligence is to never reel it in. Centerpiece banger “My Work Here Is Dumb” ranks among the finest Intelligence moments existent and an apex in Finberg’s songcraft, boasting a bonkers arrangement and a thematic gnaw that is both brutal and playful. The collection closes with the epic “Soundguys,” a suite cut-up that fuses CAN and STEELY DAN into one of the most dastardly tunes available for consumption in the plague age. As Finberg himself states, “They may say this is ‘lo-fi’, but I say it’s ‘no-CGI’”. “The band disintegrated, so it devolved back to the core idea: if I do every aspect, it’s indestructible.” 20 years on and Finberg has finally let everyone know what The Intelligence actually means! All those wily experiments and warm flubs have come back full circle and the shit’s pure goddamn gold. Proof positive that there is always some sort of cute trouble, farcical tragedy and Lil’ Peril at play with The Intelligence. - Mitch Cardwell, 2022. Tracklisting: 01 Maudlin Agency 02 70's 03 Keyed Beamers 04 Purification 05 My Work Here Is Dumb 06 Lil Peril 07 Frog Prints In Preset City 08 Portfolio Woes 09 Soundguys

My Morning Jacket, Wilco, Jack Johnson. Originally released in 2004, Mason Jennings 4th full length is an understated masterpiece of sensitive songwriting, minimalist production, and wonderful folk grooves. It's heartfelt and intimate, but Jennings never succumbs to earnestness or folk rock cliches. He captures the essence of vintage, pre-electric Dylan with poetic and timeless ballads about love and loss. This is one of Mason’s most popular releases, available for the first time ever on vinyl. Mason’s career has spanned over 25 years and 15 albums. Mason Jennings has close to 60,000 followers and over 180,000 monthly listeners on Spotify. First time available on vinyl. Track listing: 1 Crown 2 The Light, Pt. 2 3 Empire Builder 4 Fourteen Pictures 5 Lemon Grove Avenue 6 KeepinIt Real 7 Ballad of Paul and Sheila 8 Southern Cross 9 Drinking as Religion 10 Ulysses

For Fans Of Garage Punk, Power Pop, Cheap Trick, Dollyrots, Suzi Moon, Pretenders, Blondie, The Muffs, 5.6.7.8’s. One part pop, one part poison, all “poolside glitter punk,” Hayley and the Crushers offer up a tsunami of bad girl power. Anointed “the naked embodiment of power pop punk” by New Wave icon Josie Cotton (who signed the band to her Kitten Robot Records in 2021), Modern Adult Kicks is their most ambitious and self-possessed album to date. Produced by legendary LA punk producer and ex-Screamer Paul Roessler (TSOL, Josie Cotton, Richie Ramone), the album conjures up the electricity of first-car freedom, the woes of suburban isolation and the lurid pleasures of Y2K chat rooms all wrapped in the warm glow of a late-night infomercial. While the content is no doubt “adult,” there’s no shortage of kicks to be had. The California-to-Detroit transplants have injected even the most bummer of subjects (addiction, heartbreak) with a potent venom of caffeine and heart. Sure, BUST Magazine once likened the band to a bag of Sour Patch Kids, but this new album reveals fresh depths of flavor. Crafted in a post-Covid world, Modern Adult Kicks is exactly what it advertises to be: a more put-together, wiser “big sister” to the band’s sunny 2020 release, Vintage Millennial. Like finally being old enough to party with the babysitter, Kicks is a shining example of how growing up can actually rule. In the Crushers’ world, growing jaded isn’t an option and there’s never a good reason to stop dancing. Tracks 1 Taboo 2 Cul de Sac 3 She Drives 4 Broken Window 5 I Fall 6 Click and 7 Act Now 8 Lost Cause 9 California 10 Sober 11 No Substitutes 12 Overexposed

Watford born indie rock goddess Connie Constance announces
her new album, ‘Miss Power’, a bold collection of songs imbued
with high voltage drums, snarling guitar riffs, and anthemic feminist
rage.
 On ‘Miss Power’, Connie takes us on a joyride through dramatic,
passionate and empowering scenes with hooks aplenty and lyrics
that excitedly unpick heartbreak, Connie’s strained relationship
with her father and her struggles with mental health.
 Connie’s titular and much acclaimed first single from her new
album, ‘Miss Power’ earned itself a spot on the BBC Radio 1 C list,
as well as being named Hottest Record by Radio 1’s Clara Amfo,
with plays from Jack Saunders, Ricky, Melvin and Charlie and Vick
and Jordan.
 The album announcement comes alongside the release of a new
single, ‘Till the World’s Awake’, a life affirming indie dance track
that twinkles with bright, layered guitars atop driving basslines and
powerful drums. Connie Constance’s dynamic yet delicate vocals
swell to a thrilling, cathartic chorus: “When we are young and
when we get older / I want to feel like loving, feel like loving you.”
Connie’s venture into the world as her authentic self is palpable.
 “A strikingly effective combination of disparate strains of British
pop: the quasi spoken verses bristle with the barked beauty of
Paul Weller; the cathartic chorus reaches Florence worthy heights”
- The Guardian
 “Brand new music from the brilliant Connie Constance. She’s real
fun, I rinsed ‘Kids Like Us’ on this show, and I love this one. Just
instantly catchy and empowering. empowering.” - Clara Amfo
 “She is one of the most exciting artists around at the moment. I
saw her live and just knew she was going to be special” - Arielle
Free
 “This indie pop banger ‘Miss Power’ is an instant confidence
booster” - The Fader

While she might be best known as an improviser (most notably in the Spontaneous Music Ensemble, the Feminist Improvising Group and more recently with the likes of Les Diaboliques), Maggie Nicols’ talents stretch into song, dance, poetry, performance and composition. When Cafe OTO was shut over lockdown we invited her to follow up the wonderful solo ‘Creative Contradiction’ with some time spent singing alone at the piano. ‘Are You Ready?’ comprises an LP of songs and a 2CD edition which includes a companion disk of freely improvised meditations entitled, ‘Whatever Arises.’ Songs - seemingly contradictory to the practices of free improvisation - have been a vital part in Nicols’ relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards sung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent gig with pianist Steve Lodder played out ‘The Maggie Nicols Songbook.’ Are You Ready? recalls Nicols’ own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's “ability to find the ‘rhythmelodic’” meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however - “Sans Papiers” sets the words of poet Vicky Scrivener to tune; a story of migration and struggle which is as important to Nicols as the songs her mother wrote. Such an intimate recording of her own compositions came with a certain amount of reflection and anxiety - best confronted with time spent freely improvising. ‘Whatever Arises’ - a companion disk to the ‘Songs’ - is a meditation of sorts, a process of ‘following the energy’ which has its roots in John Stevens’ work. “Improvisation gives the confidence to compose,” Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, ‘Whatever Arises’ allows Nicols’ to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens’ work, Nicols’ improvisational techniques also remind us of Pauline Oliveros’ Sonic Meditations. They are what has allowed Nicols to find her own sound, to ‘teach herself to fly.’ They have allowed Nicols to grow and share and to be able to keep close the songs that mean so much to her, now shared with us. Recorded at Cafe OTO on July 15th, 16th and 17th 2021 by Shaun Crook. Mixed by Shaun Crook. Mastered by Sean McCann. Artwork by Annalisa Colombara. Lettering by Rosella Garavaglia. Layout by Maja Larrson. ‘Slow Within The Urgency’ inspired by mindfulness teacher Jeff Warren. Original poem ‘Sans Papiers’ by Vicky Scrivener. Original poem ‘You Darkness’ by Rainer Maria Rilke. Music and lyrics to ‘Music Is The Healing Force of The Universe’ by Mary Maria Parks.

Ltd Deluxe 3LP+2CD+Blu-ray B Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Black Vinyl

Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Yellow Vinyl

Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

The Music Lovers collection brings you a cool selection of Calypso hits for our greatest plaisure!

Vinyl reissue of the absolutely brilliant fourth full length album from the pop-punk / melodic hardcore legends Four Year Strong.

This album is now getting pressed onto vinyl for the first since it's original release in 2010, as the band's first major-label released studio album. Album features the huge singles 'It Must Really Suck To Be In Four Year Strong Right Now' and 'Wasting Time (Eternal Summer)', amongst an album filled with fan-favourites.

Vinyl reissue of the absolutely brilliant fourth full length album from the pop-punk / melodic hardcore legends Four Year Strong.

This album is now getting pressed onto vinyl for the first since it's original release in 2010, as the band's first major-label released studio album. Album features the huge singles 'It Must Really Suck To Be In Four Year Strong Right Now' and 'Wasting Time (Eternal Summer)', amongst an album filled with fan-favourites.

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Available as Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak – all including the companion album ‘Nightwork’. Also available as standalone Gatefold 2LP+CD, Standard CD Jewelcase & Digital Album.

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Available as Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak – all including the companion album ‘Nightwork’. Also available as standalone Gatefold 2LP+CD, Standard CD Jewelcase & Digital Album.

For Fans Of Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod. Each song on Ghost Funk Orchestra's 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the "production forward" discographies of such record makers as David Axelrod and the Mizell Brothers, it's easy to visualize Applebaum as a "mad doctor" figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he's a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time. Also Available From Ghost Funk Orch: Night Walker/Death Waltz LP/CD, Opaque Red LP, An Ode To Escapism LP/CD, A Song For Paul LP / CD 1. Introduction 2. Your Man's No Good 3. Scatter 4. Prism 5. Quiet Places 6. A New Kind Of Love (pt. 1) 7. Why? 8. Blockhead 9. A Song For Pearl 10. Bluebell 11. Rooted 12. A New Kind Of Love (pt. 2)

As three souls plunge down from the heavens, death and destruction can be felt hanging in the air like a foul stench. Red clouds swirl around a black sun that never sets and an erratic clock ticks off-tempo, moving faster and slower before rewinding and starting anew.

“Let me paint you a picture…” vocalist Mikey Arthur sings, welcoming listeners with a dramatic opening scene. It takes a skillful guide to navigate the darkest depths of hell. And, as The Gloom In The Corner depict in their second full-length album Trinity, death is merely the beginning of the series of chilling adventures

Purposefully aligning their song count with unlucky number thirteen – a reoccurring symbol in the ever-unfolding Gloom Cinematic Universe or GCU – it comes as little surprise to longtime fans that each of the Australian quartet’s enticing tracks intertwine to form an interlocking tale; this time centered around the appropriately labeled unholy trinity.

Comprised of previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne, the group’s bloody battle is woven throughout the album as the anti-heroes determinedly claw their way back to Earth from the Rabbit Hole dimension, slashing, shooting, and extinguishing anyone who dares to oppose their quest. Yet, for the Girl of Glass, Ronin, and Queen of Misanthropy, there is clearly more to the story than what can be contained within a single package.

Projecting a wide and complex web of lore, plot twists, and tongue and cheek humor, frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, have been producing highly detailed concept releases since their formation. And, consistently filling in more missing pieces of the puzzle with every body of work, the band equate each new record to a fresh season of The Umbrella Academy dropping on the streaming service of your choice. Because, just as a great TV series captivates viewers with its music and storytelling, the quartet’s work provides a complete experience designed to allow fans to check in with their favorite characters, all the while enjoying a cinematic new soundtrack.

For those just joining the GCU, as well as those looking for a quick refresh, 2016 debut album Fear Me introduced listeners to main protagonists Julian “Jay” Hardy, a Section 13 agent consumed by anger over his girlfriend Rachel’s death, and Jay’s gloom (later known as Sherlock Adaliah Bones), a demonic entity who at times takes over Jay’s body as a host vessel. 2017 EP Homecoming tells the tale of Jay’s brother Ethan, a war veteran suffering from PTSD, who upon discovering his brother’s struggle, kills himself as part of a Dante-style rescue mission to bring Rachel back to life. In 2019 EP Flesh and Bones, we’re introduced to Clara Carne, a past witness to one of Jay and Sherlock’s crimes, who instead of taking revenge, began a twisted love story with Sherlock, only to be murdered by his forced hand. And 2020’s Ultima Pluvia EP where we finally learn of Sherlock’s past as an ancient warlord under the tyrannical King Baphicho, and see Sherlock and Jay’s deaths ushered in by Section 13 opponent and New Order leader Elias DeGraver and his gloom Atticus Encey.

After 2016’s Fear Me, the band admit that their original intention was to jump straight into the events of Trinity before pivoting to create Homecoming, Flesh and Bones, and Ultima Pluvia. However, upon reflection, primary storywriter Mikey Arthur believes that pushing the timeline back actually provided greater opportunity for the group to properly flesh out the songs and plotlines for their sophomore studio record.

Indeed, while Trinity re-introduces the three central “heroes” of this new arc, it’s important to understand that while familiar, the characters are not carbon copies of who they were earlier in the story. And neither is the band who brought them to life.

Fully embracing the weird and whacky has never been a struggle for The Gloom In The Corner. Rather, it’s together with this attitude that the group come away with special moments such as the fascinating old and new dynamic between neighboring tracks “Red Clouds” – a song whose initial version predates the formation of The Gloom In The Corner as an official band – and “Gravity” in which a demo intended for future material was adjusted to fit the sonic drop.

Mirroring this evolution in the band’s musical approach, a sense of growth can also be seen projected in the characters and story that the quartet chronicle across the thirteen tracks.

Classifying their individual sound as an intricate form of “cinema or theater-core” due to the depth and breadth of their musical approach, features, samples, symphonic elements, and conceptual nature, The Gloom In The Corner continue to prove that they’re more than just a simple concept band.

In fact, similar to character theme music in movies and video games, the group seamlessly play off their diverse sonic story in a variety of ways. Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from Fear Me into an impactful moment in Trinity’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.

Listeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. Described as a 50/50 split between notable talents such as Ryo Kinoshita (Crystal Lake), Joe Badolato (Fit For An Autopsy), and Lauren Babic (Red Handed Denial), as well as talented friends and family like Elijah Witt (Cane Hill) and Mikey’s sister Amelia Duffield, each featured artist brought their own touch and realistic spark to the characters they portrayed.

For in the end, as much as Trinity and it’s cast live within the confines of their own supernatural worlds, themes such as falling out of love (Gatekeeper), battling depression (Obliteration Imminent), and standing behind women’s empowerment (Nor Hell A Fury), are ones that many can relate to or understand. And, while most individuals may avoid drowning their woes by way of transforming into full-on egotistical murderers like the Queen and King of Misanthropy and the gang, The Gloom In The Corner have illustrated that time and time again, life’s a little more fun when you can crack a smile. Taking a page from the trinity’s playbook: try to avoid the end of the world. But if you can’t…at least spend it with a killer soundtrack.

To celebrate the 10th anniversary of Recital, we present Autumn Fair: A group LP comprised of 44 guest players (full list below), curated and edited together by Sean McCann.

Autumn Fair aptly embodies the feeling of Recital as a record label; the infusion of abstract sound art and sentimental beauty – performed by both younger and older generations of artists.

Oren Ambarchi - guitar, Ed Atkins - paper shredder, Jason Bannon - family, Derek Baron - keyboard, Karla Borecky - upright piano, Andrew Chalk - guitar, crys cole - birds, Loren Connors - guitar, Philip Corner - grand piano, Maxwell August Croy - whistle, Sarah Davachi - electronics, Aaron Dilloway - SFX, Delphine Dora - voice, Giovanni Fontana - voice, Scott Foust - trumpet, Peter Friel - impression, Malcolm Green - camera, Judith Hamann - cello / voice, Mark Harwood - speech, Forest Juziuk - voice, Johnny Kay - tapping, Kajsa Lindgren - hydrophone, Rob Magill - guitar, Lia Mazzari - whip, Molly McCann - flute, Sean McCann - editing / voice, Nour Mobarak - voice sampler, Azikiwe Mohammed - interview, Charlie Morrow - MIDI piano, Kiera Mulhern - SFX, Zachary Paul - violin, claire rousay - SFX, Michel Samson - violin, Troy Schafer - strings, Eric Schmid - tone generator, Ben Schumacher - SFX, Tom James Scott - keyboard / SFX, Asha Sheshadri - reading, Patrick Shiroishi - winds, Sydney Spann - voice, Matthew Sullivan - instruments, Flora Sullivan-Kelly - percussion, Connor Tomaka - SFX / synth, Alex Twomey - upright piano.

I won't go into too much detail on the album itself, but after many twists and turns, the album concludes with “Recital Program,” an intense track that manically collages two-second excerpts from every Recital album to date.

I extend a sincere ‘thank you’ for all the incredible support for Recital over the past decade.

Ltd. LP Edition of 350 copies on 175gram black vinyl, gold foil printing, incl. program notes, comes with printed ticket, mechanically numbered.

'Tempo Sem Tempo' is the fifth studio album by São Paulo based clarinet player, singer and composer Joana Queiroz, now available on vinyl for the first time outside of Brazil.
It is indeed a timeless record. A cocooning blend of looped reeds and low-key electronics holding melodies and lyrics.
When Joana sings, it's with noble restraint and grace, as can be heard on four songs including Gilberto Gil's 'Seu Olhar' and 'Dois Litorais' by her friend and Quartabê band mate Mariá Portugal.
Standing out on 'Tempo Sem Tempo' is a wistful beauty that makes it easy to immerse oneself in the intimate vastness of this album.

A unique longplayer by Germany's Funk champions The Mighty Mocambos: 'Scénarios' is a wild journey through iconic performances captured on 8-track tape, including celebrated versions of breakdance favourites like 'Axel F.' And 'Let The Music Play' as well as brand new original material composed especially for recordings in unusual settings.

Hamburg's deep funk chefs are known for their intuitive recordings that capture the energy of a live performance, and with this record they go all the way.

Just before the pandemic, the group recorded an in-store live session at legendary Hamburg record shop Groove City and taped an impromptu performance at JAM PDM! breakdance battle in Potsdam. Both were released on vinyl 45s, quickly sold out and became secret weapons for DJs. While most bands shifted their stage to the studio in 2020, producing an abundance of isolated lockdown-inspired material, the Mighty Mocambos – never shy of an antidote - took the mobile version of their recording studio on the road.

With no audience allowed at the Pitt Hopkins Music Session charity concert, the group used the occasion to compose meditative folk-soul instrumentals to be performed exclusively on stringed instruments. Sweaty funk does not work via video stream, but the format provided a welcome opportunity to create something entirely different. Even without electricity and drums, the cinematic "Four Two Three" and "Silent Heroes" are unmistakably recognizable as Mocambo themes.

When you follow Nina Simone's credo that an "artist's duty is to reflect the times", it became evident that once the world slowly started opening up again, further concerts would be captured on the group's portable Fostex R-8 tape machine. Luckily, restrictions fell on the very evening that the band hit the open air stage at the Import Export in Munich on September 11th 2021. The extended afrobeat-inspired jam on J.J. Cale's "Carry On" witnesses people celebrating and dancing together again for the first time after a year and the manic "Munich Psycholympics" unleashes all bottled-up energies that had being lying dormant.

The slightly kafka-esque "Ghost Walk" was taped during a soundcheck for a concert that was eventually called off for safety reasons, reflecting once more the uncertainty of the time. The last scénario sees the Mighty Mocambos returning to a packed indoor venue, playing "Let The Music Play" to a audience of b-boys and -girls – a testament to the sheer power of music. Featured as an encore here, an acoustic version of "Where Do We Go From Here?" (originally recorded with Lee Fields) closes the record and its restless voyage through unusual recording situations.

"Scénarios" differs drastically from other live albums as it does not seek to replicate existing material from studio albums. All songs were written or arranged especially for the live recordings in order to combine the group's DJ-friendly trademark sound with added vibes and momentum from the audience. Most of them were recorded while they were performed in public for the first time ever.

Comes in gatefold sleeve & includes download voucher.




d 04: Theme from Beverly Hills Cop (Axel F) Live

The Others (Lustmord Deconstructed) is a celebration of the fearless attitude of being different and the expression of unique ideas which have never existed before. Over 13 years after the release of O T H E R , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of `Ashen'. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. The original O T H E R was released by independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, O T H E R is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of `Godeater', while Japanese post-rock act MONO deliver a crushing version of `Er Eb Os', and THE OCEAN take us on a cathartically heavy mindtrip back to our `Primal State of Being'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own.

More solid UK boogie & brit-funk courtesy of Freestyle Records - this time giving the 12" reissue treatment to short-lived group Cool Runners' 1982 single Checking Out, backed up with sought-after High on a Feeling.

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As Cool Runners' Paul Tattersall recalls, "this single was a follow-up to the "Play The Game (So You Think It Funny) / Hawaiian Dream" 12" which we believe got to around number 60 in the national charts, and was at the time heavily played on the radio by DJ Greg Edwards who sadly passed away earlier this year..." Recorded mixed and mastered then licensed for release to MCA, this initial single also relased in 1982 was voiced by Tony Jackson, then part of Paul Young's backing band as his career took off in the charts. Tony formed part of a string of funk groups throughout the 70s and early 80s - Sweet Dreams, Midnight, Ritz & Indigo - and later went on to be successful as lead singer in Rage.

These tracks "Checking Out" and "High on a Feeling" on the other hand features the vocal talents of Rush Winters, who would go on to record with the likes of Carmel, Yello, D.C.Lee and others. "It received little in the way of promotion by the record company at the time", Tattersall continues "so it has produced a cult following and has become rather sought-after, as few copies were actually released at that time."

After release, Cool Runners' Paul Tattersall and Chris Rodel then played with several different bands, with Chris moving onto double bass. He still plays professionally today as an accomplished jazz bass player. Paul has run a successful musical hire company in North London, with a specialism on synths and keyboards, since the eighties - and continues to this day.

Among the rarest albums from Jim Kirchstein's Wisconsin-based Cuca label, 1964's Birdlegs & Pauline runs a playful gamut of girl group soul, sultry R&B, bluesy torch songs, and junk shop doo-wop. The Rockford, Illinois-based husband and wife duo struck gold with their Top 20 R&B hit "Spring" the year prior and frequently returned to Sauk City to see if there was any additional magic up Cuca's sleeve. Gathered here are the best of Birdlegs & Pauline's family album of songs, featuring several previously unissued songs found deep in the Cuca vault.

Among the rarest albums from Jim Kirchstein's Wisconsin-based Cuca label, 1964's Birdlegs & Pauline runs a playful gamut of girl group soul, sultry R&B, bluesy torch songs, and junk shop doo-wop. The Rockford, Illinois-based husband and wife duo struck gold with their Top 20 R&B hit "Spring" the year prior and frequently returned to Sauk City to see if there was any additional magic up Cuca's sleeve. Gathered here are the best of Birdlegs & Pauline's family album of songs, featuring several previously unissued songs found deep in the Cuca vault.

Murderers & Robbers is the first album by American rapper Project Pat (Patrick Houston). Pat is the brother of Juicy J (Jordan Houston) of the Three 6 Mafia. The album was released on July 25, 2000, through Project Records. Labeled as an “underground album”, it is mainly a compilation of the rapper’s mixtape material from the early 1990s before a prison sentence interrupted his career.

It’s similar to Three 6 Mafia’s Underground series of compilation albums released from 1999-2000.

Produced by Juicy J & DJ Paul.
Featuring: Lord Infamous. Juicy J, DJ Paul and T-Rock

The classic sci-fi series teleports to Demon Records for two thrilling full-cast radio adventures.
From 1977 to 1981, a heroic band of freedom fighters waged war against the merciless Terran Federation,
spearheaded by Supreme Commander Servalan. In the mid-1990s Terry Nation’s intergalactic epic switched from BBC
TV to radio with two new adventures, The Sevenfold Crown and The Syndeton Experiment. Both now come to vinyl
for the first time, alongside cast interviews and extracts from Zen and the Art of Blake’s 7.
Presented across 3 x 140g vinyl discs in three colours, these full-cast dramas star Paul Darrow as Avon with Jacqueline
Pearce as Servalan, Michael Keating as Vila, Steven Pacey as Tarrant, Paula Wilcox as Soolin, Angela Bruce as Dayna,
and Peter Tuddenham as Orac and Slave. Written by Barry Letts (Doctor Who) they feature incidental music by Jeff
Mearns as well as the familiar strains of Dudley Simpson’s iconic theme music.
The removable slipcase cover reveals a trio of coloured LPs - plus a frameable art print - in a widespine sleeve. The
discs are presented in individual sleeves which, when place side by side, reveal a landscape scene of Scorpio in flight.
Full cast and credits are accompanied by graphics illustrating the tech of Blake’s 7.
Make sure you’re Down and Safe with this exclusive limited edition.

RUBY THE HATCHET liefern mit "Fear Is a Cruel Master" genau das siedend heiße, eingängige und doch voller roher Energie steckende Killer-Album ab, das sein gefeierter Vorgänger "Planetary Space Child" (2017) versprochen hatte. Fünf lange Jahre hat sich die amerikanische Psych Rock Truppe aus New Jersey nach der Veröffentlichung ihrer letzten Scheibe Zeit gelassen, aber das sehnsüchtige Warten hat endlich ein Ende. RUBY THE HATCHET haben in ihrem kollektiven Songwriting einen neuen Gipfel erklommen. Dies hat sich die Ausnahmetruppe durch zahlreiche Opfer sowie einen eisernen Willen, sich erneut zu steigern, hart erkämpft. Der Albumtitel "Fear Is a Cruel Master" spiegelt die Stimmung der Zeit, in der die neuen Songs geschrieben wurden, perfekt wider. Sängerin Jill Taylor, Gitarrist Johnny Scarps, Schlagzeuger Owen Stewart, Bassist Lake Muir und Organist Sean Hur hatten sich längst daran gewöhnt, als Gruppe zusammenzuarbeiten. Doch während der Arbeit am neuen Album konnten sie nur wenig Zeit miteinander verbringen. "Ich habe während der Pandemie viel gelesen und bin dabei auf den Satz 'Angst ist ein grausamer Meister' "Fear Is a Cruel Master" gestoßen", erklärt Taylor. "In dieser Zeit wurde die Angst sichtbar und wie sie die Menschen zurückhielt. Der Titel hat einen Bezug zur Musikbranche, denn alle waren verunsichert - von den Bands über die Booking-Agenten bis hin zu den Clubs. Angst lag in der Luft". "Fear Is a Cruel Master" wurde zusammen mit Paul Ritchie (THE PARLOR MOB) im New Future in New Jersey aufgenommen und war nicht so akribisch durchgeplant wie RUBYs vorherige Alben. Die Band ließ bewusst mehr Spielraum für Spontaneität und magische Momente. Das Hauptthema von "Fear Is a Cruel Master" ist letztlich die Selbstreflexion. Obwohl die neuen Songs im Schmelztiegel einer weltumspannenden Pestilenz geschmiedet wurden, besitzen sie doch eine Zeitlosigkeit, die weit über den Moment ihrer Entstehung hinausreicht. Alles, was RUBY THE HATCHET zu einem so herausragenden und selbst bei ihren Kollegen äußersten beliebten Act macht, findet sich auf diesem Album - von Jills üppigem Gesang voll rauchigem Honig, über die psychedelischen, aber dennoch knackigen Gitarren, bis hin zum Spirit der Rock'n'Roll-Orgelhelden. "Fear Is a Cruel Master" ist definitiv ein Album, das von einer Band geschrieben wurde, die nach einem Jahrzehnt ohne Bedauern auf all die Momente zurückblickt, die sie gelebt oder nicht durchlebt hat. "Fear Is a Cruel Master" ist sowohl Ergebnis als auch Zeugnis dieser Reise. Es ist Zeit, sich auf den Weg zu machen, um RUBY THE HATCHET in ihrem ebenso beeindruckenden wie mächtigen klanglichen Kielwasser zu folgen.

What Are People For? make the perfect kind of dystopic dance music for our times. Born from a collaboration between artist Anna McCarthy and musician/producer Manuela Rzytki, the band could be the illicit lovechild of Tom Tom Club and Throbbing Gristle, displaying the ideal balance of hip shaking vibes and dark provocative content.

On their collaborative debut, McCarthy and Rzytki share songwriting duties. The album was produced by Rzytki herself. They are joined by Paulina Nolte on backing vocals and Tom Wu on drums, while Keith Tenniswood mastered the record.

The whole project stems from a publication and exhibition by McCarthy laying the foundations for the content and lyrics of the album, which is humorous, poetic and political. As a lyricist, McCarthy uses her storytelling ability to explore anxieties and desires, digging into free surreal word associations reminiscent of Su Tissues’ tongue in cheek experiments with Suburban Lawns, but also explosive and gripping like a Kae Tempest rap.
Rzytki’s precise sonic palette and talent at penning structured bangers perfectly complement McCarthy’s playful and subversive language manipulations. Rzytki's beats are rooted in old school Hiphop loop principles and an authentic love for the analog. Her use of an array of synthesizers and other "real" instruments adds to WAPF's depth, soul and sincerity.

The album opens with a joyful anthem, full of energy and melodic hooks. The audience is confronted with the quintessential titular question What Are People For? and told that they are just a mere disposable commodity. Throughout the album, lyrical themes revolve around underground aspects of society, violence, political ideologies, sexuality and mysticism. The content is deep but the album is as danceable as it is biting.

73, with its drum machine hysteria and hypnotic synth basses is a a text collage written on the 73 bus through London, consisting of situations and conversation snippets encountered along the way. Drones indulges in the narrator’s paranoia as they feel they are being watched by cigarette machines, whilst the haunting choir is half spoken, half sung, ending on the orgasmic chanting of the word “mummy”. Nursery Rhyme brings more soothing incantations. There is definitely an affinity for fairytales, albeit adult ones and especially the anarchistic ones such as The Moomins, who were a consistent influence on the band. The artwork for the record, created by McCarthy, is a beautiful children's book-style painting of the group in a forest, seemingly about to engage in a magical encounter to which we are invited.

WAPF? have absorbed and digested a variety of influences. Trip hop, Punk and Techno are rubbing shoulders on Party Time. 1977 was coined “Summer of Hate” in the UK and unsurprisingly in WAPF?’s Summer of War, ethereal singing alternates with a powerful marching Garage/Grime chorus reminiscent of street protests and UK culture.

Mz. Lazy starts like an invitation to meditation and references Gertrude Stein’s book Ida in which she develops the idea that publicity is a new religion and people are now famous for being famous. Repressed anger explodes into violence and freedom at the end of the song as our heroine eventually grabs an axe to destroy her oppressors.
Fantasize, on its part, is raw, sexual and liberating while the closing track Bring Back the Dirt is a welcome hymn into a world that is becoming more and more sanitised.

While exploring deep subject matters throughout their album, WAPF? manage to remain satirical, exciting and funny. Each and everyone of their songs have a cathartic quality.

The visual identity of the band is intrinsic to their appeal. Live, they are eccentric, wild and unapologetic, wearing see-through costumes, bright miniskirts and intricate headpieces while delivering their songs with sharp intensity. Their performances radiate queer sexiness and transcend B52's thrift store aesthetics, creating a space for collective dreaming.

WAPF? is a rare combination of contemporary punk energy, irresistible groove, absurdist dry humour and astounding depth of field. They have the mighty power to create a party with their music and soon you will find yourself lifting your arms as if controlled by an external force, to chant: WAPF? WAPF? WAPF?

– Marie Merlet (Malphino, Little Trouble Girls, London)

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Viva Boma was their second LP, originally issued in November 1976, and added some African influences to the mix, including the cover which, designed by Alain Goutier upon a concept by Daniel Schell, depicted a trio of hipopotamus that made reference to Boma, a portuary city at the banks of the river Congo, and Bomma, Belgian word for grandmother (hence the title appearing either with one or two m's on different parts of the artwork).



The Wah Wah reissue comes housed in a

OVERVIEW: "After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano namesake studio on E. 22rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener' attention with a chugging drum lead by The African International's King Tuch setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evi claims t's own space as a musical melting pot and reflects the excitement Boadi waslearningto harness as a musician in his newfound home of Chicago."

Pinkshift are a vehemently unapologetic punk
band whose songs rail against prejudice and
oppression while also examining in great depth the
human condition.
 Foregoing more traditional careers in the hard
sciences / medicine, Baltimore natives Ashrita
Kumar (singer), Paul Vallejo (guitar) and Myron
Houngbedji (drums), are inspiring fans in a
different way.
 The band smash any preconceived notions of what
a punk band should look or sound like.
 After self-releasing the viral hit ‘I’m gonna tell my
therapist on you’ and the ‘Saccharine’ EP, Pinkshift
partnered with Hopeless Records to release their
debut album, Love Me Forever’.
 Produced by Will Yip (Turnstile, Code Orange,
Tigers Jaw), the band have put together an
emotionally cathartic, raucous, and powerful debut
that centres their unique perspective as POC
individuals in a scene that historically did not
represent them.

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

'Razen is the collective consciousness of core members Brecht Ameel and Kim Delcour, who since 2010 have realized themselves through virtuoistic and highly expressive improvisations with lesser-heard instruments. Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery.

The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it’s Brecht and Kim’s outlook and imagination beyond musical references that’s the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings - with the philosophy of embracing playfulness and exploration through the lens of a child’s eye.

Only six collaborators have been invited to their inner circle to date. This is mainly attributed to the rarity of finding spiritual counterparts that are seeking freedom outside the confines of written musical scores. Trading notes and rhythms for strokes and color, the band embodies emotive and meditative drones that demand a deep listening state. Joined by Will Guthrie and Paul Garriau, Razen venture into their vision of Arcadia through Regression, proudly presented by Marionette. On this album, Brecht Ameel turns to his trusty prepared harmonium and celesta, while Kim Delcour controls air and breath on various wind and reed instruments. Featuring Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), the recordings have a distinct flow and fluid movement when compared to some of Razen’s previous works where rhythm is taking a backseat. Hurdy-gurdy specialist, Paul Garriau, plays accompanying melodies and drones on Moon, Aether and Nebula.

The album's earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen’s fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone - one that can be reached by riding sound waves that transcend the past, future, and present.'

This is Midpoint. Tom Chaplin’s third studio album is the first where the musician presents all of himself: as a writer, a singer, a husband, a world-beating artist with a past (and all the ups and downs that come with it) – and as a middle-aged man.
It’s a beautiful collection of songs of reflection and imagination, warmly produced by Ethan Johns (Laura Marling, Paul McCartney), empathetically played by a small group of hand-picked supporting musicians, and recorded in six productive weeks at the end of last year in studios including Peter Gabriel’s Real World in Bath and Paul Epworth’s The Church in North London

The second installment of gems and nuggets straight from the infamous jukebox at Malcolm and Vivienne's King's Road SEX boutique.

Compiled again by Marco Pirroni (Adam and The Ants, Siouxsie and the Banshees) another collection of carefully curated tracks that were played on rotation at 430 kings road Chelsea, throughout 1974-1976.

Years in the making, this follow up to Marco’s 2004 “SEX: Too Fast To Live Too Young To Die” continues to complete the jukebox playlist with tracks contributed from those friends who frequented the shop - Jordan Mooney (RIP), Paul Cook, Steve Jones and Sam Bully amongst others – remembering those all-important songs that soundtracked the shop and left lasting impressions on them over 47 years ago.

Another wild ride and a kaleidoscope of jukebox bangers from The Animals to Max Bigraves, Nico to Burundi Black, these tracks undoubtedly played a heavy influence on SEX’s customer’s young ears many who would go on and change the musical world forever - Sex Pistols, The Clash, Chrissie Hynde, Siouxsie Sioux to name just a few.

Artwork supplied by Personality Crisis with unpublished photographs from Jane England, a student at the time but already understood the cultural significance and beauty of both the shop and Jordan Mooney who the compilation is dedicated to.

The second installment of gems and nuggets straight from the infamous jukebox at Malcolm and Vivienne's King's Road SEX boutique.

Compiled again by Marco Pirroni (Adam and The Ants, Siouxsie and the Banshees) another collection of carefully curated tracks that were played on rotation at 430 kings road Chelsea, throughout 1974-1976.

Years in the making, this follow up to Marco’s 2004 “SEX: Too Fast To Live Too Young To Die” continues to complete the jukebox playlist with tracks contributed from those friends who frequented the shop - Jordan Mooney (RIP), Paul Cook, Steve Jones and Sam Bully amongst others – remembering those all-important songs that soundtracked the shop and left lasting impressions on them over 47 years ago.

Another wild ride and a kaleidoscope of jukebox bangers from The Animals to Max Bigraves, Nico to Burundi Black, these tracks undoubtedly played a heavy influence on SEX’s customer’s young ears many who would go on and change the musical world forever - Sex Pistols, The Clash, Chrissie Hynde, Siouxsie Sioux to name just a few.

Artwork supplied by Personality Crisis with unpublished photographs from Jane England, a student at the time but already understood the cultural significance and beauty of both the shop and Jordan Mooney who the compilation is dedicated to.

Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).

While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.

Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.

Ivory Colour 7 Inch Vinyl

A Beautiful Rendition Of R Kelly Song

Unlearn is the long awaited fourth album of DJ and producer 2econd Class Citizen. It marks the artist's return back to the newly relaunched label Equinox Records. Their previous collaborations achieved high acclaim for their genre bending fusion of hip hop, electronica and folk music.

The new album is an exploration of an artist journeying beyond their conventional confines. It is a musical adventure peppered with vintage samples concerning the perception of reality and our struggles with conforming to a broken society.

Unlearn is the most musically accomplished work of 2econd Class Citizen to date. As one would expect the drum programming, scratching and production is on point. Several tracks feature soothingly melodic and energetic passages of jazz saxophone from Leroy Horns and electric guitar riffs provided by long term collaborator Paul Drury.

2econd Class Citizen, real name Aaron Thomason, resides in Brighton, UK. He is also a painter and visual artist fascinated with abstraction and the chaos of mixing colours. His musical approach on the new LP draws many parallels to this creative process. An original painting from the artist forms the albums striking cover.

Equinox Records is run by DJ Scientist in Germany. The Unlearn project marks the 51st release and provides the perfect launch vehicle for the dormant label to rise again. The vinyl release of Unlearn as well as the single Be Together signify the first stops in a release plan which will please fans of the label.

FEEDBACK:

"Woah! It's sounds rad! Really heavy and cinematic!"
Kid Koala

"A dark and deep dive into a world of dense and diced samples and moody muted melodies. Would sit well next to Shadow's freakier forays into fractured funk. Or Format's last psychy LP, for sure."
DJ Moneyshot of The Allergies

"I love it. The new treatments with the additional instruments sound great, especially the horns. Glad to see that Equinox is back in action. Dope cover art."
Dday One

"It sounds like 2econd Class Citizen has been at a mountaintop retreat studying and meditating and came back with some superpowers."
Buddy Peace

A1. Clifford Brown & Max Roach Quintet - Yesterdays
A2. Bob James - Sign Of The Times
A3. Herb Alpert & The Tijuana Brass - The Lonely Bull (El Solo Toro)
A4. Doris Day - Que Sera, Sera (Whatever Will Be, Will Be)
A5. Nina Simone - Rags And Old Iron
A6. Billie Holiday - God Bless The Child
A7. Ella Fitzgerald With Paul Weston & His Orchestra - Russian Lullaby
B1. Cookin' On 3 Burners Feat. Kylie Auldist - This Girl
B2. Little Willie John - I'm Shakin'
B3. Dinah Washington With Quincy Jones & His Orchestra - Is You Is Or Is You Ain't My Baby
B4. Harry Belfonte - Jump In The Line
B5. Frank Sinatra - High Hopes
B6. Chris Connor - Time Out For Tears
B7. Thelonious Monk - Black And Tan Fantasy
C1. Ella Fitzgerald - All Through The Night
C2. Johnny Mathis - Someone
C3. Cal Tjader - Walk On By
C4. Gil Scott-Heron - Home Is Where The Hatred Is
C5. Mongo Santamaria - Watermelon Man
C6. Peggy Lee - I'ts A Good Day
C7. Ferrante & Teicher - Theme From Exodus
D1. Quincy Jones - Soul Bossa Nova
D2. Ahmad Jamal - Angel Eyes (Live At The Alhambra)
D3. Charlie Parker & Miles Davis - A Night In Tunisia
D4. Les Brown Feat. Doris Day - You Won'T Be Satisfied (Until You Break My Heart)
D5. Cab Calloway - The Hi-De-Ho Man (That's Me)
D6. Glenn Miller - Doin' The Jive

Juno-winning saxophonist Chet Doxas is a guiding voice in the world of
creative improvised music
Doxas, co- leader of Riverside with trumpeter Dave Douglas and a respected
collaborator of Carla Bley and Paul Bley, joins Whirlwind for 'You Can't Take It With
You', his ninth album as a leader and first at the head of a trio. He's joined by two
stand-out collaborators - Ethan Iverson (piano) and Thomas Morgan (bass) - for a
meticulously constructed album with playful positivity at its heart.Both the
inspiration and the encouragement to put this album together can be traced back
to Carla Bley. Jimmy Giuffre's trio was a big influence on Doxas - "the way he
shapes and articulates is one of a kind - and the group regularly featured Bley's
music. An early-morning airport transfer saw Doxas discussing future plans with
Bley and Steve Swallow, who advised Doxas to write "one song a month",
distraction-free for a year.
The ten tracks on the album represent a year spent writing and closely editing his
compositions. That process gradually revealed his trio, selected for their personal
sensibilities as much as their outstanding technical capabilities. "Ethan and
Thomas's tones are very inspiring. I wanted to let myself be guided by their sound
palettes, and focus on phrasing in a way that's a little more multidimensional.."

The story of this album is a story of love and lust - it's a love letter to rock
music - Your first love being the first time you held that instrument or
lover that would propel you into the next chapter
Your first heartbreak. Your first fear. Your first fuck. There's a constant need to
feed the first because all of that unfinished business fuels the second.
But the truth about the first is that it was there all along. These songs were out
there years ago, playing out their melodies to a closeted, jealous, angry Iowa City
gay boy trying to find his way towards freedom. Decades later, No. 2 grabs those
songs down and punches the idea of a first all open. First Love reintroduces No. 2
to us all, driven by the propulsive lyrics of Neil Gust along with the incomparable
Gilly Hanner on bass and the unparalleled Paul Pulvirenti on drums.
Produced by Joanna Bolme (Stephen Malkmus & The Jicks) and mixed by Gary
Jarman (The Cribs) and Tony Lash (Heatmiser). The album was recorded over 3
years in studios and basements across Portland, OR and finished in a boathouse
in Connecticut during Covid. Special guest Rebecca Cole (The Minders, Wild Flag)
shows up on keyboards here and there.
Racing through queer anthems, noir grooves, and more under and over ground
rock references than a Quentin Tarantino movie, First Love bursts with all the
infectious chemistry that made the band so much fun in the first place.