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Acclaimed singer-songwriter Terri Walker is celebrating the 20th anniversary of her critically acclaimed 2003 album, 'Untitled', with the release of her highly anticipated new album 'My Love Story', out now via Wings of a Hummingbird Records/Believe UK.

Produced by Konny Kon & Tyler Daley – widely recognised as Children of Zeus, who also co-wrote the album alongside Walker & Drs, the seven-track album showcases Terri's unique blend of Soul and RnB. Following on from the release of singles ‘Finally Over You’ and ‘I’m Not The One’, 'My Love Story' is a testament to Terri's growth as an artist over the past two decades.

Speaking about the album Terri said: “My Love Story is an album that I made for myself. It has been one of accountability, and ownership – no blaming or assumptions. It’s an album where I didn’t worry that it didn’t meet mine, or other people’s expectations.”

King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”

King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

Re-mastered by Kramer in 2022. Recommend If You Like: Raymond Scott, Mort Garson, Joe Meek, Robert Moog, Perrey and Kingsley, John Cage, Brian Eno, Sun Ra, Karlheinz Stockhausen, Hawkwind, Pete Seeger, William Shanter, Fred Rogers. An electro-surrealist musical journey from the mind of Bruce Haack "The Captain" - capturing his inventive genius musically in tandem with tapping into the voice of his inner child, innovative story songs inspired by Bruce Haack's diverse musical interests and a love of Science and explorations of the Natural World, songs to excite the imaginations of listeners, both young and old. Ahead of his time and beyond categorization- Haack continued to create trying to find new platforms in order to promote his electronic music. He scored many commercials during the 1960s and promoted electronic music on TV, even demonstrating his inventions on Mister Rogers' Neighborhood in 1968. He self-released his first children's music album later that year. Haack constantly added new genres and inspirations to his compositions and was greatly influenced by the psychedelic rock of the era. He constantly created new work that reflected not only his varied interests, but his shifting musical horizons. He created multiple youth oriented albums, dipping into science fiction, psychedelia and electronica, using traditional song structures in order to capture children's attention to educate them, while wrapped in one of his many personas. Bruce Haack wanted people to know him through his medium: music. He dedicated his life to exploring, inventing and sharing his eclectic brand of humor and many musical points of view. In failing health, he never stopped pursuing his distinctive musical dreams.

Los Angeles rapper Earl Sweatshirt releases his new project SICK!, out now via Tan Cressida / Warner Records. The new 10-track project includes previously released singles "2010," "Tabula Rasa (feat. Armand Hammer)," and "Titanic" and features collaborative contributions from artists and producers Zelooperz, Nak-el Smith, Armand Hammer, Black Noi$e, and The Alchemist.

Speaking about the new project, Earl says:

"SICK! is my humble offering of 10 songs recorded in the wake of the worldwide coronavirus pandemic and its subsequent lockdowns. Before the virus I had been working on an album I named after a book I used to read with my mother ('The People Could Fly'). Once the lockdowns hit, people couldn't fly anymore. A wise man said art imitates life.

People were sick. The People were angry and isolated and restless. I leaned into the

chaos cause it was apparent that it wasn't going anywhere. these songs are what happened when I would come up for air. Peace and love to Zelooperz the enigma, The Armand Hammer, and my good friends Alchemist and Black Noi$e. Peace and love to u."



Following the project's release, Earl Sweatshirt will embark on his North American 2022 NBA Leather Tour later this month with Action Bronson, and The Alchemist with Boldy James. The 19-date run will see stops in Los Angeles, Chicago, and New York City before wrapping up in Austin in February. Tickets are available here.



Listen to SICK! above and find full album details and upcoming live dates below. Stay tuned for more from Earl Sweatshirt coming soon.

The Whatnauts emerged from Baltimore in the late 60's and were produced by George Kerr & Michael Watson.

This 8-song original LP has become a classic 70s soul album, mixing ballads and groovy tracks. While "You forget too easy" could be played on any lowriders mixtape, "Im So Glad I Found You" featuring Linda Jones is the perfect Northern soul floor filler. The beatmakers & producers are given their share too, with the drum breaks of the groovy "Why Can't People Be Colors Too?" And to make this reissue even more collectable, Playoff Records added the 80s funky "Help is on the way" sampled by De La soul as the perfect bonus track. A must have for any diggers or soul music fans.

The music of Horace Tapscott and The Pan-Afrikan Peoples Arkestra is part Sun Ra Arkestra, part John Coltrane, part Art Ensemble of Chicago. This groundbreaking and monumental album explores the multi- faceted deep and spiritual jazz of Tapscott - Afro-centric rhythms, hypnotic bass lines, Tapscott's stabbing modal piano playing and stunning flute and horn arrangements. "The Pan-Afrikan
Peoples Arkestra - Live at I.U.C.C." is a true high point in the cannon of great independent underground jazz music recorded during this era.

Machine's self-titled album is shrouded in mystery. Supposedly released in 1972 on All Platinum Records, it completely disappeared without a trace and only a few copies seem to have survived, making it one of the rarest Funk albums on the planet. The album, only known to a handful of hardcore collectors, fetches prices in excess of $5000 whenever one turns up on the auction market, which happened four times in the last twenty years. Consisting of three young session musicians backing their label mates The Whatnauts, the group display a superb mix of socially-conscious hard-hitting funk and earthy soul, the album is reissued here in its original artwork and remastered by Colorsound Studio in Paris. It includes a 2-page insert with new liner notes by Charles Waring. Masterminded by singer and guitarist Michael Watson accompanied by bass player Curtis McTeer and drummer Donald McCoy, the album Machine came straight out of the New Jersey-based All Platinum studios where the label was based. The musicians had been active as session musicians for the label since the late 60s, mainly backing such label acts as The Whatnauts. As a matter of fact, the Whatnauts' manager, Bunch Herndon, makes guest appearance on the album as percussionist. Beside the core group of Watson, McTeer and McCoy, the album's line-up features several other cult musicians and also the orchestrator Sammy Lowe, a seasoned professional who had been arranging for Sam Cooke, James Brown and Nina Simone to name just a few. âÇ

"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. T

hey were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare.

This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies.

While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.

Repress!

Robert Cotters lange verschollenes New York Funk Meisterwerk mit der pre-Chic 'Big Apple Band' mit den Mitgliedern Nile Rodgers, Bernard Edwards, Tony Thompson und Robert Sabino zum ersten Mal seit 1976 neu aufgelegt mit Original Artwork, Remastered Audio und neuen Liner Notes von Barbie Bertisch & Paul Raffaele (Love Injection).

“Upopo Sanke“ means “Let's sing a song" in the Ainu language. Umeko Ando (1932-2004) was one of the best-known artists of the Ainu, an indigenous, long-suppressed community in northern Japan. She sings their traditional songs together with Oki Kano on the Tonkori harp, who also recorded the album. The two are supported by members of the female vocal group Marewrew as well as Ainu percussionists, a string player and a male singer who provides rhythmic shouts and also throat singing. The call-and-response structure of many of the songs is performed with a mantric quality in a vocal style that is perhaps best described as elastic and breathing. There seems to be a gentle smile in every note and syllable. This music softly hits the heart.

Upopo Sanke was recorded on a farm in Tokachi in the summer of 2003. We hear dogs barking, a distant thunderstorm and voices imitating animals. The liner notes that accompany the 2LP release gather the anecdotal memories of Umeko Ando and Oki Kano about the stories of the 14 songs. Oki Kano is a musical ambassador of the Ainu culture who tours worldwide with his Oki Dub Ainu Band and also gives solo concerts, always playing the Tonkori, the five-stringed Ainu harp.

The Ainu have suffered from the oppression of their culture and language by Japan, especially since the 18th and 19th centuries. Only recently, in 2008, were the Ainu officially recognized again as an indigenous people culturally independent of Japan. As a result of the marginalization, there are now only a few hundred native speakers of the Ainu language left, making it a particularly worthy object of preservation.

"Upopo Sanke" was mixed again in part by Oki Kano, before being mastered and cut to vinyl by Kassian Troyer. The 2LP plays on 45rpm and it sounds fantastic. This album was the second album by Umeko Ando, the follow-up to „Ihunke" and also re-released in 2018 by Pingipung together with Oki Kano.

Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness – the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album – making the mono mix all the more historically valuable and truthful.

Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.



As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.

Track List

Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

Mit wenig mehr als einer unerbittlichen Reihe von Live-Auftritten und einem zweimal gepressten (und anschließend ausverkauften) selbstbetitelten Demo hat sich die in New York ansässige Band Lathe of Heaven als ein starkes und zusammenhängendes Element inmitten der Flut von Punk und synthiegetriebenem Pop-Revival erwiesen, das derzeit im US-Underground wuchert. Die 2021 gegründete Band setzt sich aus Mitgliedern bemerkenswerter Brooklyner Projekte wie Pawns, People's Temple, Porvenir Oscuro, Android, Hustler und anderen zusammen. Obwohl diese Liste vergangener und alternativer musikalischer Bestrebungen ein breites Spektrum an Genres und Fähigkeiten aufzeigt, kann Lathe of Heaven nur als eine Abkehr von solchen Einflüssen verstanden werden und erforscht einen völlig eigenen Sound. Nun, fast zwei Jahre später, sind Lathe of Heaven endlich bereit, ihr Debütalbum "Bound by Naked Skies" zu veröffentlichen. Die elf Tracks umfassende LP verbindet Elemente von düsterem britischem New-Wave und finnischem Post-Punk zu einer nuancierten Gegenüberstellung von 80er-Jahre-Soundwahn. "Bound by Naked Skies" greift Themen der klassischen und zeitgenössischen Science-Fiction auf, die den einzigartigen und bewussten Sound prägt, und verdankt seinen literarischen Einflüssen ebenso viel wie der Musik. Als kraftvolle Hommage an die unheimlichen Welten der Autoren Arthur C. Clarke, Octavia Butler, Ken Liu und natürlich Ursula Le Guin (nach deren Roman die Band benannt ist), verweben sich Themen der Kosmologie ("Ekpyrosis"), Simulation ("Heralds of the Circuit-Born"), Geisteskrankheit ("Moon-Driven Sea") und Ontologie ("Entropy", "The Spider" etc.), und ziehen sich wie ein roter Faden durch das Album. Ein Einblick in die Gedankenwelt derer, die von der Ungewissheit der erschreckenden und gar nicht so fernen Zukunft der Menschheit geplagt werden.

Innercity Griots is an album with a legendary status among fans of hidden Hip Hop gems of the 90's.

At the heart of Innercity Griots is the unique sound and style of Freestyle Fellowship. This group of four talented MCs (Aceyalone, Myka 9, Self Jupiter, and P.E.A.C.E) and their producer, J-Sumbi, created a sound that was both experimental and deeply rooted in the traditions of hip-hop.

The sound of the group is recognizable with a unique jazz-infused style. What really sets the group apart from other jazz-influenced Hip Hop from that era is their incredible lyricism. The raps are packed with dense wordplay, complex metaphors, and social commentary. This all together makes it a rich and rewarding listen.

Long festering on the West Coast, Frankie and the Witch Fingers have carved out a niche that’s equal parts molten tar pit teardown and end-stage anxious careen. As they wind out of the stoned-ape psychedelics of their 2020 opus Monsters Eating People Eating Monsters… their sound, over a series of singles, has begun to thicken and throb. It’s coalesced into a darker strain that ingests the explosive impulses of R&B, the rhythmic insistence of 70’s German Progressives, and the elasticity of funk fusionists alike. They weld their arsenal of influences to a chassis of nail-bitten bombast. On the upcoming Data Doom the band hurtles the listener head first into the wood-chipper of technological dystopia, systemic rot, creeping fascism, the military-industrial profit mill, and a near-constant erosion of humanity that peels away the soul bit by bit. With a fuse lit by these modern-day monstrosities the band seeks to find salvation through a thousand watt wake-up of rock n’ roll exfoliation.

New album from the UK's most Northernly band Neon Waltz. The John O' Groats fourpice release 'Honey Now' on 1st September. Pre-Order alongside new single 'Thoughts / Dreams / Regrets' on 26th April!

Black cloud is descending – Black Magic Six set to release their fifth album in September, new single Blood of Babylon out now The title of Black Magic Six’s upcoming album Black Cloud Descending really sums up the mood and thoughts of its creators during the album making process. It tells stories of constant escaping, accepting defeat, destinies of outcasts, failures, and drunks. Tales of the wiser, exaggerated lies, vague rumours, fuzzy states of mind and suspicious circumstances – even the thought in the back of your head about the possibility of redemption while standing on the edge of the cliff right before falling in; it’s all there. The album’s first single Blood of Babylon is a garage rocking song about Sam Berkowitz’s relationship with Sam Carr’s speaking dog. Lyrical themes of the upcoming album are moving between reality and the imaginary world; remembering the moments at Belo Horizonte, how to use the powder that protects you from the evil eye, how it felt to wonder in the same alleyways with the werewolf of Istanbul or diving to safety to the bottom of a pond in Northern Savo. Listen Blood of Babylon here: https://youtu.be/S7mEujUIlrw Musically the album is on a narrow path. All the sounds heard on Black Cloud Descending are produced by Taskinen and Motherfuckin’ Japa. Sure, there are two exceptions; the gong heard in the end of Werewolf of Istanbul was recorded by Sakke Koivula at his home and the church bells in the outro of Full House Blues are ringed by unknown. Previous albums of BM6 had lots of guests playing guitar, percussions, harmonica, and visiting singers. People that one could call actual musicians. These past albums have had a softer, more versatile, and maybe even a livelier touch to them. This time around there’s only the core; the percussionist and the singing guitar player. The result is more raw, rugged, and rougher than before. Black Cloud Descending is out on September 1st on vinyl, CD, and digital platforms. The album was produced, recorded, and mixed by Mitro Kylliäinen at Kung Fu Audio along with BM6 during 2022-2023. Original art used for the album cover was made by Greger Grönholm. The band will play selected live shows to celebrate the new album in Finland, Germany, Denmark, and Spain. Dates of these gigs will be announced closer to the release date of the album.