Tennessee Ernie Ford, will go down in music history for his bestknown song ‘Sixteen Tons’. Penned by country legend Merle
Travis, it put Ford at the top of the Billboard chart for seven
weeks in late 1955-early 1956, selling a million copies in just
three weeks. It was also Capitol Records’ first Number 1 of the
rock era. He also hosted a Thursday-night variety show, which
ran for nearly five years, and had several big hits in the US and
UK. His music endures, and this vinyl collection of his very best
songs is testament to a unique performer.
Pat Boone or Elvis Presley? That was the burning question on
the lips of Fifties teen America. Certainly, the two were the most
successful solo artists of rock’s breakthrough years. But while
Presley was the good-looking ‘white kid who sang black’, Boone
was married, God-fearing and covered hits by African-American
artists to chart-topping if unthreatening effect. Elvis, of course, is
no longer with us though his image and influence will never fade.
Pat Boone is still alive and there’s no doubting he was
responsible for some of the best-remembered classic pop of the
era.
For their third album on Bongo Joe, Madalitso Band takes a new direction.
After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio — without ever compromising their signature style or energy.
Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that’s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles.
Always guided by instinct, the band reveals a more intimate and narrative side of their universe — full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.
DJ Koze - with his friendly and sometimes slightly melancholic take on the world - is one of the greatest auteurs of club music today, and one of the few internationally active DJs who dares to make music that has relevance beyond the dance floor. During the 70-minute journey on his DJ Kicks - the 50th edition - Kosi
Kos manages to establish a uniform color even though genres alternate in a way that is rarely heard on a mix CD: the stripped down hip hop of Madlib, brutalist Berghain techno, timeless songwriting, floating indie-pop and outlier numbers that oscillate between absurdity andmelancholy. Koze's disregard for the stylistic yoke presents him with an immense challenge. Hence, almost all the tracks are more or less edited, and one is fully rhymed (Session Victim: Hyuwee).Koze rambles on here himself: "I didn't want to kick around ophisticated knowledge, but rather try and weave together some good gems that would make sense to anyone, even people who aren't necessarily music nerds". But this is blabbing that you can count on, also because he approaches the term "mix" from a different angle and doesn't even try to make something fit that doesn't fit: "During the day, I don't need to hear anything that's mixed on the beat. I put the focus on making sure that it works harmoniously - the idea is more to create the impression of a radio show, like people such as John Peel did so uniquely. There is a giant cosmos of music and it runs through my filter".
out of Stock
Last delivered 6 months ago available to reorder, subject to availability
Der Savatage- und Trans-Siberian Orchestra-Gitarrist präsentiert eine sehr persönliche Auswahl von 21 Tracks aus seiner erfolgreichen Solo-Karriere, die sich neben seiner Rolle in den erwähnten Bands mittlerweile über zwei Jahrzehnte erstreckt. Die Zusammenstellung enthält Songs aus seinen früheren Soloalben, sowie seltene und unveröffentlichte Tracks, die Chris für zu wichtig hält, um sie seinen Fans vorzuenthalten.
Nach 25 Jahren Herman Dune und 15 Alben freut sich BB*ISLAND, Odysseús zu präsentieren, eine neue Sammlung von Songs, die den Hörer auf eine Reise durch das turbulente Leben von David Ivar mitnimmt, eine Reise voller Sehnsucht, Schmerz, Liebe, Tod, Glaube und Erlösung. Es ist das erste Mal, dass Herman Dune mit einem externen Produzenten, David Garza, zusammenarbeitet. Das Set-up besteht fast ausschließlich aus akustischen Instrumenten, die live mit der Band in einem Raum aufgenommen wurden. Es ist Folk-Musik im typischen Stil von Herman Dune mit Anklängen an Americana, Country, jüdische und hispanische Traditionen, aber mit einer ganz neuen Wendung in Sound und Arrangements, vor allem im Vergleich zu seiner letzten rein akustischen Trilogie The Portable Herman Dune. David Herman Dune über die Produktion: "...David Garza getroffen zu haben war reiner Zufall. Ich mühte mich gerade mit einem Geigenarrangement für einen der Songs ab, als er sich in einem überfüllten Café in der Innenstadt von San Pedro an meinen Tisch setzte und mich fragte, woran ich gerade arbeitete. David, ein mit einem Grammy ausgezeichneter Produzent und Musiker, hatte mit Fiona Apple, Iron & Wine, John C. Reilly und den Milk Carton Kids gearbeitet und mit einigen meiner musikalischen Helden wie Lucinda Williams und Townes Van Zandt gespielt. Wir verstanden uns auf Anhieb, und er bot mir an, meine Songs zu produzieren. Wir begannen, die Stücke jeden Abend bei mir zu Hause zu spielen, und einmal pro Woche in einem französischen Restaurant namens Le Compagnon. David kannte die besten Musiker in L.A. - Leute wie Sebastian Steinberg am Kontrabass (Fiona Apple), Richard Edson (Schlagzeuger von Sonic Youth, Schauspieler in Jim Jarmuschs Stranger Than Paradise und Spike Lees Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros) und Paul J. Cartwright (violin, Olivia Rodrigo). Als wir uns bereit fühlten, versammelten wir alle in meinem Haus für drei Tage Live-Sessions. Es war ein chaotischer, schöner Prozess, bei dem alle in einem Raum zusammen spielten, keine Kopfhörer, keine Overdubs - nur rohe, echte Musik. Aufgenommen und gemischt wurden die Sessions von Chris Sorem (ebenso Grammy-prämiert für seine Arbeit mit den mit den LA-Legenden Los Lobos). Chris brachte eine Wagenladung alter Mikrofone mit und konzentrierte sich auf "Raummikrofone" - djene, die die Atmosphäre des Raums einfangen. Er sagte, dies sei eine Technik, die auf Alben wie Buena Vista Social Club verwendet wurde, und es erzeugte eine Magie im Raum, die spürbar war. Sogar die traurigsten Lieder wurden lebendig mit so viel Freude, Energie und Elektrizität. Die Aufnahmen waren ungefiltert, organisch und hatten Seele. Als wir mit dem Abmischen begannen, waren wir alle vom Ergebnis erstaunt, wir hörten einen Moment in der Zeit, der sich gleichsam zeitlos anfühlte"
SWEARING AT MOTORISTS haben einen langen Weg hinter sich, seit der Name 1994 auf Plakaten für eine Fake-Band erschien Die hingen auf mysteriöse Weise in Plattenläden und Musiklokalen in Dayton, Ohio, Ein paar Monate nachdem die Plakate auf auftauchten kritzelte Dave Doughman den Namen auf eine Kassette mit homerecordings, die er an Freunde verschenkte, und 1995 war die Band dann offiziell geboren. Ende der 90er Jahre veröffentlichten S@M eine Reihe von 7"-EPs bei verschiedenen Labels, und nachdem sie wiederholt von John Peel gespielt wurden und die Presse weltweit positiv über sie berichtet hatte, erhielt die Band einen Vertrag mit dem damals neuen Label Secretly Canadian. Sie veröffentlichten 2 EPs und 4 LPs auf Secretly Canadian, darunter Number Seven Uptown aus dem Jahr 2000 und This Flag Signals Goodbye aus dem Jahr 2002, die beide in den Jahren ihrer Veröffentlichung vom MOJO Magazine zum Underground Album of the Year" gewählt wurden. Swearing At Motorists zogen 2005 nach Berlin, Deutschland, und veröffentlichten im folgenden Jahr ihre letzte LP für Secretly Canadian, Last Night Becomes This Morning, bevor sie leise in der nicht enden wollenden Berliner Nacht verschwanden... 8 Jahre später war die Band plötzlich in Hamburg wieder aufgetaucht, mit einem neuen Album: "While Laughing, The Joker Tells The Truth", das 2014 auf Anton Newcombes Label A Recordings Ltd. erschien. Co-produziert von Dave und Rick McPhail (von Tocotronic), erzählt das Album die Geschichten dieser verlorenen" 8 Jahre im klassischen Motorists-Stil. Der Autor Camden Joy, vielleicht eine weitere Underground-Figur der 90er/00er Jahre, beschreibt es am besten: "Like Iggy Pop's great lost Nashville record or the legendary demos for the Strokes masterpiece that never was, this recording is full of catchy courage, significant low notes, bedroom rhythms, hooks, and so on, all of which make for an impossible amount of pleasure. This Swearing At effort towers heads and squirrels above whatever that was you were just listening to. I see why Rolling Stone gave it five stars." - Camden Joy 11 Jahre später ist die Band in Hamburg erneut aufgetaucht, aus einer weiteren Auszeit und mit einem neuen Album, das im Herbst 2025 über BB*ISLAND erscheinen soll. Vor der Veröffentlichung stellen wir euch das Album von 2014 noch einmal, oder zum allerersten Mal vor. Vielleicht lag Camden Joy genau richtig. Zu gut, um vergessen und vergriffen zu sein. Das Beständige an Swearing At Motorists sind ihre Auszeiten als Band. Alles andere ist Bonus, aber das ist natürlich der beste Teil. "...While Laughing...demontrates Doughman's unerring abilitity to turn autobiographical minutiae and emotional turmoil into exquisitely heartfelt rock'n'roll poetry. From the warmly familiar powerpop chug of Groundhog Day (Damn The Piper) and Great Actress, to the tearjerker wistfulness of Wrote You A Letter and acoustic closer It's Love That Chooses You, this is classic Swearing At Motorists throughout...." - Andrew Carden/ MOJO
A cosmic fusion of deep funk, interstellar jazz, and avant-garde soundscapes, On Jupiter stands as one of Sun Ra"s most iconic releases. Recorded in 1979 during a prolific period at Variety Arts Studios in New York, this album captures the Arkestra at the height of their creative powers, blending futuristic improvisation with infectious rhythms and otherworldly textures.
REPRESS of the Orchid second full length. Strong riffs, a tight rhythm section and psychedelic background guitar passages are the first things that come to mind when trying to describe how the album sounds. Theo Mindell's voice bears some resemblance to Blackie Lawless' and while W.A.S.P. isn't the first band that comes to mind when thinking of doom metal and stoner rock, his voice fits the music perfectly. The production is spot-on, guiding the listener's thoughts to the sound of Master Of Reality while still sounding modern.
Violet vinyl, limited to 200 copies. REPRESS of the Orchid second full length. Strong riffs, a tight rhythm section and psychedelic background guitar passages are the first things that come to mind when trying to describe how the album sounds. Theo Mindell's voice bears some resemblance to Blackie Lawless' and while W.A.S.P. isn't the first band that comes to mind when thinking of doom metal and stoner rock, his voice fits the music perfectly. The production is spot-on, guiding the listener's thoughts to the sound of Master Of Reality while still sounding modern.
For their third album on Bongo Joe, Madalitso Band takes a new direction. After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio - without ever compromising their signature style or energy. Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that"s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles. Always guided by instinct, the band reveals a more intimate and narrative side of their universe - full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.
Obwohl das Album aus kompositorischer Sicht zu den Lieblingswerken des Sigh-Kopfes Mirai Kawashima gehört, war er nie zufrieden mit der Ausführung und Produktion von "Hangman's Hymn". Mit der aktuellen Bandbesetzung – Nozomu Wakai an der Gitarre, Mike Heller am Schlagzeug – bot sich endlich die Gelegenheit, diesem zuweilen übersehenen Meisterwerk endlich gerecht zu werden. Die vorliegende Neuaufnahme wurde von Lasse Lammert produziert und verleiht dem Album eine neue Dimension mit brutaler Härte.
Johnny and Robert began work on the album in the first weeks of the pandemic, wanting to make music that sang of those dangerous, disorienting spring days; when birdsong was brighter –– and the sense of bewilderment more powerful –– than any of us had known before. They drew inspiration in part from The Epic of Gilgamesh, the oldest surviving work of world literature; an epic poem from Ancient Mesopotamia that contains the earliest version of the Flood Myth. To Johnny and Robert, Gilgamesh resonated eerily with the present moment –– and it catalysed their song-writing. For Gilgamesh is a story of friendship, love, loss, grief, bad governance and good dreaming; of natural disaster and environmental crisis. It also contains the first recorded act of human destruction of the natural world: when Gilgamesh and Enkidu travel to the Sacred Cedar Wood, slay the guardian spirit of the forest, and cut down the trees with their axes, thereby bringing catastrophe upon themselves. Johnny and Robert wrote the album between March 2020 and February 2021, during a year in which we all wandered unsure of our path, lost in the cedar wood. The songs were composed in large part as a correspondence, through a back-and-forth of notebook pages, voice-recordings and WhatsApp-messages, at a time when lockdowns made meeting in person impossible. The first eight songs were recorded in an off-grid cottage deep in a Hampshire forest, with the sounds of chainsaws felling trees drifting in through the windows along with the birdsong. The result is an album at once urgent and ancient, which fuses poetry, landscape, myth and music into something unique. These are songs that ring with hope, love and sadness –– and one need not know anything about The Epic of Gilgamesh to be touched by them.
Obwohl das Album aus kompositorischer Sicht zu den Lieblingswerken des Sigh-Kopfes Mirai Kawashima gehört, war er nie zufrieden mit der Ausführung und Produktion von "Hangman's Hymn". Mit der aktuellen Bandbesetzung – Nozomu Wakai an der Gitarre, Mike Heller am Schlagzeug – bot sich endlich die Gelegenheit, diesem zuweilen übersehenen Meisterwerk endlich gerecht zu werden. Die vorliegende Neuaufnahme wurde von Lasse Lammert produziert und verleiht dem Album eine neue Dimension mit brutaler Härte.
DESCRIPTION
Having endured no less than three long-players and a brace of singles featuring the caterwauling of Messrs Hampshire and Childish, the Milkshakes’ audience figured it might be time for an instrumental outing. In response the group gave them just that. But this was to be no run-of-the-mill effort – no Dick Dale-esque surf marathons or Shadowsy twangers are apparent here. These tunes are more ‘rhythm-and-mood’-based compositions; occasionally leaning more towards the Link Wray end of the spectrum – as you would probably expect. This IVth album (hence the name) was recorded in 1983 at Oakwood Studios – as were all previous releases – but this was the first in their new facilities in a converted church near Canterbury, which opened up a whole new golden vista of shimmering, silvery sounds in atmospheric conditions. Of course, the Milkshakes were having none of that. We suggest you plonk the wax on your gramophone and let whatever happens happens. Hasty bananas.
The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.
Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.
Listening to CD3, I'm reminded of how the Vincent Over The Sink record '22 Coloured Bull Terriers' made me feel all those years ago. There's a free ranging quality to it.
It feels calmly capable of doing whatever it wants. It feels mysterious and self-generating, almost aloof to the humans who made it. I adored that record; it cascaded into so many epiphanies.
I don't want to implicate Cooper and David's music in any fleeting desire towards currency, but listening to this CD3 record over the last few weeks has felt weirdly, thematically correct. There's an echo-ey kind of referentiality to it. Not to particular styles of music, but to the recently elapsed histories those styles of music evoke. It's something that Th Blisks kind of gestures towards, but which this project seems to own entirely.
It's a kind of melted reconfiguration of popular (occasionally popular-on-the-fringes) styles. These familiar sounds are reconfigured and muddied. Hindsight frames the sources in an almost primordial light, to the extent that they feel like folk art.
Glyphted and Franzbranntwein sound like pop songs stripped to their bones and distorted, as if the styles they vaguely recall are as old as time. It's a stunningly weird effect. Songs like The Duchess and Farmhand exacerbate this impression. The record comes to feel yearningly ahistorical. But in a way that feels pertinent?
It might just be where my head is at, but the implacable nature of the record feels important to me, somehow. It's something far, far north of post-modern but... ancient too. - Shaun Prescott
"Los Angeles-born music producer, artist, and DJ DF Tram is thrilled to announce the release of his highly anticipated new album, Bittersweet Afternoon on Orbscure Records. Orbscure Records, founded by Alex Paterson of the legendary electronic act The Orb, continues its tradition of championing innovative and boundary-pushing artists with this remarkable release. About DF Tram DF Tram is a leading figure in the global downtempo electronic scene, celebrated for his meticulously crafted audio-visual performances and immersive storytelling through sound. His work seamlessly blends ambient, sampling, spoken word, vocals, and psychedelia into genre-defying sonic journeys, offering listeners a unique and transformative experience. Bittersweet Afternoon Written and recorded between DF Tram’s Zagreb and Vienna studios during the pandemic and finished last year. Bittersweet Afternoon represents the next chapter in his storied career. The album surprises listeners with his vocals, bittersweet lullabies, and signature collage and spoken word style. Featuring atmospheric soundscapes and cinematic influences, the project reflects the spirit and playfulness of Alex Paterson and Orbscure’s commitment to fostering experimental, forward-thinking music. Adding to the album’s rich tapestry are collaborations with Alex Paterson himself on two tracks, as well as contributions from multi-talented contemporary classical violinist Violeta Vicci on another pair of songs. The first single and video, "The Librarian," offers an immersive glimpse into the world of DF Tram and “Bittersweet Afternoon”. Available on a limited edition transparent blue vinyl, card gatefold CD.
The songwriter Joseph Allred is always prolific, but breaks up their string of solo releases for one of the most orchestrated offerings since the excellent Branches And Trees. Allred’s often monastic guitar works are fleshed out here on Old Time Fantasias, turning them towards ensemble visions of country, Americana, and Appalachia. Album opener, “The Groundhog,” features the distinctive piano of Hans Chew, with bass from Daniel Kimbro and brass from Mikey Allred. Elsewhere the new album features Kelby Clark, Courtney Werner (Magic Tuber String Band), Evan Morgan (Magic Tuber String Band), Lydian Bramblia, and Jack Bird in the mix. “I started recording this album in Spring ‘23, thinking I might be making a mostly solo acoustic album with a couple of duets thrown in for good measure. I met Hans Chew at a Nashville show a few months earlier and sent him a few tracks to see if he wanted to add anything to them. Before long the ‘solo acoustic album’ had given way to what’s probably the most involved and densely orchestrated album I’ve made to date. “I enjoyed following some threads of influence that aren’t as easily discernible in my solo playing—I hear some classic country and psychedelic flourishes, baroque pop glockenspiel and horns, percussion ideas that may be cribbed from Danny Elfman and Tom Waits albums, nods to post-rock-filtered western guitar twang, and a little Cocteau Twins dreaminess. “All in all this was a satisfying record to make. I’m especially grateful to the collaborators for adding their touches and making it a less solipsistic affair than it would have been otherwise. The political climate has changed so much over the last two years that I find it hard to imagine I could make a record with this kind of fantastic mood if I started now. I hope that it can maybe re-enchant those of us who are felling disillusioned.” —Joseph Allred
On its tenth anniversary outing, Sofia Records doesn’t just mark a milestone - it distills its essence in a four track EP. The compilation reunites the original, 25 year strong, pBPM crew and the fresh talent of Impe´rieux.
KiNK delivers a dancefloor juggernaut “Let The Bass Kink” - raw, kinetic and unmistakably his.
KEi counters with “Killing God Theme“ - a deep, hypnotic slow-burner, rich in emotion that evolves with patient intensity. Then we have the debut of Tegav - a new alias from the pBPM forming member Kalin Baychev with “Stomper“ - an edgy melody on top of a percussive backroom swagger. Impe´rieux, ever the outlier, continues his quest for dance music’s future with “Jarka”, a leftfield yet playful groove that breaks convention while rattling the floor.
With a smiling family snapshot, framed in smoke, strobe light and sweat, Sofia shows how to throw the needle where it matters - squarely pointed to the future.
out of Stock
Last delivered 15 months ago available to reorder, subject to availability
Third album by singer and producer Charlotte Marionneau. A collection of sonic trips that try to capture the spark of beat poetry. She is almost a magician who has captured the directness of punk and can do magic with the emotion of pop. And she is always in the experimental grab bag. On the track 'Two-Love' Noel Gallagher plays piano and bass. Further on there is a Daniel Johnston cover presented as a duet with Terry Hall and his son Theodore and here Noel plays guitar. Marionneau reminds one of a female Syd Barrett. She counts among her admirers: Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic and Cillian Murphy. Le Volume Courbe "Planet Ping Pong" is a collection of sonic trips echoing fulgurances of beat poetry. Charlotte is a magician who can weave the directness of punk with the emotions of pop while staying in the realms of edgy experimentation. The bunny comes out of the hat smoking a cigarette and looks you in the eye. The single "Two-Love" is a collaboration with Noel Gallagher on piano and bass and Lascelles Gordon on percussions. The album also includes a cover by Daniel Johnston "Mind Contorted" which is presented as a duet with Terry Hall, and also features his son Theodore Hall and Noel Gallagher on guitars. The originality of Charlotte's music shares something with outsider art: naïve, primitive, primal, rather than following the standard rules. The new album selfproduced and mixed by Brendan Lynch and Charlotte is no exception, It's a unique and compelling listen laced with surprises, subversions and a refreshing candour which sets it apart from anything else. Charlotte was born and raised in France and moved to London in 1995. She was first signed to Alan McGee Poptones label in 2001, and her debut "I killed my best friend" was released in 2005 on Honest Jon's Records. She has also worked with a number of other bands and musicians including Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic etc.. Her song "Born to Lie" was featured in Series 2 of Killing Eve and Spotify selected her song "Rusty" for their "best of the decade 2010-2020" alternative compilation. Cillian Murphy selected the same song for his BBC6 compilation. "She reminds me of a female Syd Barrett... she keeps running into me all over the place from concerts or serving me ice cream at the Curzon on a wet Saturday night or on Jools Holland with the High Flying Birds... I love Charlotte... a great talent and a real psychedelic soul musician." Alan McGee "Inspiring originality, fiercely independent beautiful music, always years ahead of its time. I remember hearing Charlotte's music for the first time and being immediately taken by the freshness, great melodies and utterly unique approach." Kevin Shields "When I first met her she was wearing a cape... she looked like a little piece of Lego. She told me she liked some of my songs but not all. (I hadn't even asked her opinion!!) She's beautiful, fearless and one hell of a tambourine player." Noel Gallagher. "Charlotte is bewitchingly talented, a true rarity that has inspired many creative people. The kind of woman songs are written about. She's an artist that steals your heart away and then comforts you with her stunning music." Hope Sandoval. "A true original and a truly unique artist. There is not many I can say this about, but I honestly think I love everything she's ever recorded! All hail the Scissor Queen!" David Holmes.
This is what you get when an emcee/producer is fed on a diet of abstract hip-hop, Southeast Asian samples, and Taoist folklore. Together with the Clementi Sound Appreciation Club (a five-piece band of up-and-coming musicians schooled in jazz from the local scene in Singapore), Mary Sue melts samples with live instrumentation on 'Porcelain Shield, Paper Sword.' At the core of the album is the tale of a time-traveling oracle, struggling to find meaning in the modern world-where ancient wisdom feels fragile, and truth is ever-shifting. A reinterpretation of idioms shapes its journey, where spiritual pursuits feel performative, and where the weight of the past clashes with an uncertain future. The music mirrors this tension: phrases of Gamelan music dissolve into smoky brass, spectral melodies unravel over off-kilter drums, and time bends through layered textures. 'Porcelain Shield, Paper Sword' is both a reckoning and a dream, where echoes of the past find new life in the chaos of now. A porcelain shield shatters on impact; a paper sword folds before it cuts. It's about the constant, fragile push-and-pull between aesthetics and money, tradition and progress, meaning and spectacle. "Like the oracle, we're all stuck in a world where spiritual longing gets tangled up with consumerism, where authenticity is blurred by performance, and where finding real meaning feels shakier than ever," rapper and producer Mary Sue explains. "'Porcelain Shield, Paper Sword' lives in that field of tension. The album drifts between beauty and collapse, truth and illusion, and past and present, without ever landing on solid ground."
Moving Day captures André 3000 in a very important time. Before New Blue Sun was recorded, filmmaker Dexter Navy films André in Venice Beach, California. The day happened to be when André was moving out of his home and into a new place. The score for Moving Day is a weaving of field recordings from the date of filming, an impromptu Q&A by Navy to André, and post studio recording performed forward then backward while watching the film. The additional track ‘Tunnels of Egypt’ is an unreleased New Blue Sun sessions recording. A x3 trk, 31 min piece of work on Ltd Black LP Vinyl. Marketing activity.
Man singt und es wird: Im Zuge eines Zusammenbruchs hat Max Gruber den Soloartist Drangsal gekillt und die Band Drangsal gegründet. Am Ende des Tunnels steht das im Juni 2025 erscheinende Album, Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen.
Seit über zehn Jahren sichelt Max Gruber mittlerweile die Zick-Zack-Schneise Drangsal durch die deutsche Poplandschaft: Harieschaim aus 2016, Zores aus 2018 und zuletzt Exit Strategy – das ihm 2021 Platz 6 der Albumcharts bescherte – erdachte Gruber größtenteils im Alleingang. Und dann war da noch etwas nach seiner Exit Strategy: Ein Zusammenbruch. Max Gruber wusste nicht mehr, ob und wenn ja, wie er weiter Drangsal machen will, veröffentlichte im Ullstein-Verlag sein literarisches Debüt »Doch«, gründete Die Benjamins, holte so gemeinsam mit Charlotte Brandi, Thomas Götz und Julian Knoth Hans-A-Plast Frontfrau Annette Benjamin aus dem Ruhestand und reaktivierte unlängst das 2016 mit Stella Sommer gegründete Duo Die Mausis.
Und doch, von innen wie von außen, immer wieder die Frage nach einem neuen Drangsal-Album. Wenn es denn überhaupt nochmal eines geben soll, erkannte Gruber, musste er die Arbeitsweise, auf deren Grundlage Drangsal-Songs entstehen, fundamental verändern. Auf alles Ringen folgte, was unvermeidbar war: Der Reset. Max Gruber hat den Soloartist Drangsal gekillt und die dreiköpfige Band Drangsal gegründet – zusammen mit zwei Mitmusikern, die ihn aus seinen Gewohnheiten gelöst haben: Lukas Korn und Marvin Holley.
Erstgenannter ist Gitarrist und Produzent, spielt in der Band Lyschko, produzierte zuletzt das Album silber von Mia Morgan und hat seit 2020 als Bassist an der Drangsal-Liveband partizipiert. Zweiterer studierte Jazz- und klassische Gitarre sowie Komposition in Stuttgart und Wien, stand mit Sam Vance-Law und Fil Bo Riva auf der Bühne und arrangierte für Film und Theater. Lukas Korn und Marvin Holley haben dafür gesorgt, dass sich die zentrale Figur im Kosmos Drangsal dreiteilt.
Das Liedermachen in Bandkonstellation ließ alle Angst platzen: Getragen von Euphorie nahmen Gruber, Holley und Korn ab Ende 2022 etliche Songskizzen und damit den Unterbau eines siebzehnteiligen Albums auf. Nach Kreativurlauben an der polnischen Grenze und Ostsee stand eine von Max Rieger produzierte und von Lukas Korn Co-produzierte vierte Drangsal-LP. Sie trägt den schwergängigen Titel Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen und erscheint im Juni 2025. Gruber, Holley und Korn haben sich auf das Credo so wenig wie möglich, so viel wie nötig verständigt – und dadurch einen Umbruch im Klangkosmos Drangsals manifestiert, der völlig neue Dynamiken mit sich bringt. Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen hält Leerstellen aus, in seinem Zentrum stehen, statt Synthesizer, Akustikgitarren, die immer wieder an der Grenze zu Blues und Jazz wandeln. Wo speziell auf Exit Strategy noch überzuckerter Synth-Pop preschte, ist nun Klavier zu hören; Orgel, Klavinet und Cembalo; Xylophon, Violinen und Celli; von Ralph Heidel gespielte Querflöten und Saxophone.
Dazwischen drei Episoden, in denen sich Gospel Chöre und Technobeats breitmachen. Max Rieger hat die drei dazu motiviert, Echtheit, auch Imperfektion im Moment der Aufnahme zuzulassen – und großen Anteil daran, dass »Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen« ein realistisches Abbild des Trios bietet. Die Stimmung? Dagegen eher ein Wechselbad. Max Gruber singt von Selbstentfremdung, vom Für und Wider des Stillstands, vom Sichhingeben und Sichwegschmeißen – mal auf deutsch, mal auf englisch, mal zart, mal angewidert. Grubers Stimme klingt, nach einer klassischen Gesangsausbildung, die der Einunddreißigjährige angetreten hat, zielbewusster. Umarmungen Marke »Ich hab von der Musik geträumt und Inkomplett treffen auf Gewitterwolken à la Mein Eid und dem Sophia-Blenda-Feature Mein Mo(nu)ment. Entlang rigoroser Entkernung und Hexenjagd geht es Bergab – für dich, für mich, für Max Gruber sowieso. Er ist über weite Teile der Platte hinweg auf der Flucht vor sich selbst, den alten Geistern, dem leidigen Wachzustand: Wär’ ich doch bloß nimmermehr erwacht, ich schliefe in ewigem Glück. Gruber sucht und sucht: Nach innerem Frieden, nach Gnade, nach unverbranntem Boden, nach neuen Versionen seiner Selbst – und das vergeblich. Immerhin scheinen Erinnerungen mit der Zeit zu verschwimmen: Grubers Worte – zu sich und zur Welt – klingen im hinteren Teil der Platte sanfter, vergebender, resümierender. Ein Schlüsselmoment? Das von der Schauspielerin Rosa Lembeck eingesprochene, Monolog artig formulierte Klanggedicht Rosa – Es ist so: Man singt und es wird.
Wie ihre berühmten Vorgängerinnen Alice Coltrane und Dorothy Ashby verbindet die Grammy-nominierte Harfenistin Brandee Younger den flirrend schönen Klang ihres Instrumentes mit dem Groove und der Freiheit des Jazz.
Für Younger, die schon mit Pharaoh Sanders, Lauryn Hill, John Legend, Common, The Roots und Ravi Coltrane zusammengearbeitet hat, ist ihr drittes Album für Impulse! Records auch ihr bislang persönlichstes. Alle Kompositionen stammen aus ihrer Feder, mit den mal balladesk melodischen, mal subtil groovenden Tracks beschreibt sie ein Jahr mit für sie tiefgreifenden Veränderungen.
Drei Tracks beinhalten Kollaborationen mit Shabaka, Courtney Bryan und Josh Johnson.
Die beiden Klavierkonzerte sind die erste Vinylauskopplung aus dem bisher ehrgeizigsten Projekt des koreanischen Star-Pianisten Seong-Jin Cho für die Deutsche Grammophon: die Gesamteinspielung des Klavierwerks von Maurice Ravel anlässlich des 150. Geburtstags des französischen Komponisten.
Chos einfühlsame Interpretationen, begleitet vom Boston Symphony Orchestra unter der Leitung von Andris Nelsons, wurden von Publikum und Kritikern weltweit bejubelt. „Mit seinem kristallklaren Anschlag ist Cho eine natürliche Besetzung für Ravel“, schreibt The New Yorker und die Financial Times hebt hervor: „Chos Stärke ist, dass er einen so hohen Standard an Genauigkeit und Klarheit beibehält... Ein Ravel-Spiel von solcher Perfektion im Detail kommt nicht oft vor“
Zehn Jahre nach dem Gewinn des Chopin-Wettbewerbs bestätigt sich Chos Status als einer der bedeutendsten Pianisten unserer Zeit, und der erste Teil dieser maßstabsetzenden Aufnahmen sind nun endlich auch auf 180g-Vinyl erhältlich
The Current Thing EP, first release in a series of three, marks the debut of 'Confusion is next to Happiness' (CINTH); a record label and party series unbound by restraint and defined by complete freedom to bridge idiosyncratic and divergent sounds into the world.
With home base at Sameheads and appearances across Germany with Säule in Berghain, Golden Pudel Club in Hamburg, and PRXXXT in Leipzig, CINTH is an emerging powerhouse for all things twisted and freaky.
Duo Lucas Brell and Marvin Uhde, known as Kinzua, deliver a three track EP featuring minimalist yet richly textured compositions with haunting ambience capturing the edge between intensity and transcendence. The trance-inducing atmosphere and subtle modulations will pull you deep into a meditative wormhole.
out of Stock
Last delivered 33 days ago available to reorder, subject to availability
Glossy Mistakes Reissues Resonance 001, a Proto-House & Trance Milestone from Belgium from 1992
Glossy Mistakes is proud to announce the reissue of Resonance 001, the groundbreaking debut EP by Belgian producer Fabrice Lagrange, created in collaboration with Frank Beekman and originally released in 1992. Long overlooked, this forward-thinking record captures a pivotal moment in the early European evolution of house and trance-melding minimalism, emotion, and club-oriented experimentation into a sound that remains strikingly fresh over three decades later.
Resonance 001 stands among the earliest European records to explore the fertile intersection of hypnotic house rhythms and atmospheric trance. The A-side, featuring The Awakening Earth and Pure Self, channels a stripped-down yet euphoric energy-deeply inspired by the spirit of Detroit techno but undeniably forward-looking. As Frank Beekman recalls: "This record was recorded in a very simple studio, with minimal gear, inspired by the Detroit techno sound."
On the B-side, the EP ventures further into experimental territory. Paris By Night offers a dreamy, tech-tinged house excursion, leading into Redondanz, a meditative downtempo closer that perfectly encapsulates the release's subtle charm.
The enduring appeal of Resonance 001 lies in its restraint: crafted with minimal tools, it delivers maximum emotional depth. It seamlessly blends hazy trance atmospheres, early house grooves, and ambient-inflected textures, capturing the open-minded, exploratory ethos of early '90s electronic music.
Now remastered for vinyl by Wouter Brandenburg, Resonance 001 returns in pristine form-faithfully preserving its original character while bringing new clarity to its timeless sound.
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
Teri Gender Bender — born Teresa Suárez Cosío — is ready to show you another side of her eccentric artistry. This time, the Mexican-American singer-songwriter and producer who was raised in Denver, Colorado, and Guadalajara, Mexico, is delving into her Mexican roots with a new Spanish-language album called “TGB.” Filled with electronic, psychedelic, and experimental pop-rock, “TGB” is an empathetic auditory vessel Teri created to understand her loved ones on a personal level. Inspired by her close friends’ woes, the singer-songwriter shows sincerity and kindness by purging their most negative feelings and transforming them into sonic masterpieces for them to reflect and heal with
Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.
That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: A Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.
Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.
Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?
Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.
Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).
At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!
Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.
From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.
But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.
Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.
Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.
out of Stock
Last delivered 11 months ago available to reorder, subject to availability
U-BEND return with two certified benders that won't disappoint those trapped in this permanent bent affair.
Possessing many of the bendy qualities prized by the balearic connoisseur, the duo serve up ‘Better Place’. This timely, optimistic workout swells with the kind of uplifting energy that only the brothers bend can deliver.
‘Couples Therapy’ is a cosmic reimagining of an old bent favourite that picks up where 50Peter20 left off. Swollen chugs and sordid womps take listeners on a backseat drive through familiar territory.
U-BEND’s infinite lack of wisdom ensures that these are once again kitchen-and-living-room verified as go-to options for the last track of the night, or the first track of the morning. A dyed-in-the wool MO which proves once a legend is established, the truth can never catch up.
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Space-surf-psych-rock quartet Japanese Television’s album ‘Automata Exotica’ has been remixed by invited friends and peers; including Goat Fool from GOAT, Factory Floor’s Gabe Gurnsey, and Edgar Breau from cult band Simply Saucer. Informed by UFO encounters, ritualism, robots, Northern Soul, and nuclear weapons, ‘Automata Exotica’ was released in March 2024 and was described as “Heavy but also joyful” by The Quietus, “A fuzzy blast of space-surf energy”in Shindig and “A remarkable and unique proposition” by Louder Than War.
Rather than having been transformed out of all recognition, “reimagined” is a more apt term to describe this new version of ‘Automata Exotica’. With the album’s eight tracks presented via considered, alternative mixes with pertinent sonic application, it hangs together incredibly coherently - albeit as a wild and feverish psychedelic experience.
JTV toured with GOAT while writing ‘Automata Exotica’, with the fat fuzz tones and extended middle percussion section of ‘Typhoon Reggae Police’ heavily influenced by their time watching and learning from side stage. Starting life as an uneasy mixture of scratchy 60s garage rock and 70s Afghan psych folk, Goat Fool from GOAT ripped the song apart and stitched it back together. Recognisable but weird and uncanny, it’s a stripped down, oppressive, shimmering voodoo nightmare.
“We used to go and see Gabe’s weird, excellent band Factory Floor playing dark little club nights in Shoreditch years ago and marvel at the racket” says JTV. “Gabe’s been a long time collaborator of ours, in fact he’s the only person to not only do more than one remix for us, but has featured on every remix release we’ve done. Our most ecstatic, cathartic song, ‘Tabadaboum’ was the perfect match for Gabe - the motorik krautrock bassline fits right in with the pneumatic grind of his vintage drum machine loops and synth flurries”.
It's hard to measure the impact cult 1970s Canadian space rock proto punk psych band Simply Saucer had on the formation of Japanese Television. The band reached out to Edgar Breau - the band’s founding member and guitarist - who guitarist Tim says was “really generous with his time, and really kind to an overly keen and slightly awkward Simply Saucer mega fan. It's a real honor to have him playing guitar on one of our records”. His cosmic reimagining of ‘Golden Birds’ layers on the delay, reverb and screaming guitars, launching the track into outer space.
‘Automata Exotica (Remixed)' is set for release on 6th June 2025 on limited edition LP and digital formats. Japanese Television tour in Europe through March and April. The album is released by cult underground label Tip Top Recordings (Jim Wallis, Mandrake Handshake, Pearl & The Oysters), run by Ben Rimmer and David Warn.
Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.
Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.
A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.
While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.
“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”
The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”
Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.
Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”
Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.
With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.
Brand new studio album from BBC Radio 2 Folk Award winning singer, songwriter, producer and multi-instrumentalist, Sam Kelly - His second album for Navigator, the first, the hugely acclaimed 'Pretty Peggy' (with The Lost Boys) in 2017 - available on CD & Ltd Edition Vinyl.
'Dreamers Dawn' features Sam's signature eclectic arrangements of traditional folk songs, seamlessly interspersed with stunning original music from the pen of Sam and his Lost Boys band collaborator and banjo virtuoso, Jamie Francis. The album takes the listener on an eclectic journey, all the way from fantastical moonlit adventures of privateering and poaching, to introspective reflection & solemnity, as centuries old folk songs sit alongside modern themes of mental health and exploration of the inner self.
Sam and Jamie have gained a reputation as one of the most innovative and important partnerships to come out of the UK folk scene in recent years, and 'Dreamers Dawn' is a suitably groundbreaking addition to their impressive portfolio.
