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Charlie Winston verkaufte mit seinem Debütalbum HOBO weltweit über eine Million Alben und erhielt für "Like a Hobo" in Frankreich eine Diamantene Schallplatte und für "Running Still" Platin.
As I Am, das fünfte Album von Charlie Winston, entstand in einer ganz besonderen Situation: hinter verschlossenen Türen und unter dem ständigen Gebot der sozialen Distanzierung und der Einhaltung von Präventionsmaßnahmen. Ein glückliches Paradoxon, denn der englische Sänger tritt hier ohne Maske auf und war eigentlich nie ein Freund der Selbstentblößung.
Der Titel des Albums?hat für Charlie den Wert eines Mantras: "Es ist eine Art, mich daran zu erinnern, wer ich jetzt bin, und dass Loslassen nicht gleichbedeutend mit Aufgeben ist", sagt der Mann, der 2009 mit dem Hit?Like A Hobo?für Furore sorgte und eine starke folk- und rockmusikalische Identität offenbarte.
Ebenso bahnbrechend wird As I Am durch die ebenso unerwartete wie fruchtbare Zusammenarbeit mit dem französischen Superstar und Hitmacher Vianney.

On her Signature Sounds debut Til It's Gone, Ali McGuirk delivers a sublime set of songs that pairs her trademark soul sound with rootsy turns and raw rock n' roll detours McGuirk co-produced Til It's Gone with Jonah Tolchin (a star singer-songwriter in his own right) and a set of session legends: Little Feat guitarist/mandolinist Fred Tackett, organist Larry Goldings (James Taylor, Norah Jones), singer Valerie Pinkston (Ray Charles, Luther Vandross), percussionist Lenny Castro (Stevie Nicks, Stevie Wonder). They provided the astounding chops, but the true magic of the album comes from McGuirk's singular voice as both singer and songwriter. The nine tracks run from intimate introspection to wider meditations on oppression and justice, from tough r&b and tender soul to big rock guitar and twangy folk. And McGuirk's voice bold, buttery, spellbinding " carries each song to the next til they're gone.

Jerry Lee Lewis, Spitzname ”The Killer”, ist ein amerikanischer Rock’n’Roll- und Country-Sänger, Songwriter und Pianist. Als früher Pionier der Rock’n’Roll-Musik wurde Lewis 1986 in die Rock’n’Roll Hall of
Fame aufgenommen, und sein bahnbrechender Beitrag zu diesem Genre wurde von der Rockabilly Hall of
Fame anerkannt. Im Jahr 2004 setzte ihn das Rolling Stone Magazine auf Platz 24 seiner Liste der 100
größten Künstler aller Zeiten. Im Jahr 2022 wurde er in die Country Music Hall Of Fame aufgenommen.
Am bekanntesten ist er für seine Sun Records-Hits ”Great Balls of Fire” und ”Whole Lotta Shakin’ Going
On”.

Debut single for NEW label set up by Savage Pencil (Art), Al From Hell (Printer) and Agitated Records.. primarily to release tasty limited 7” records by awesome new musics.. first release is by Pensylvanian guitar manglers Laurel Canyon, evoking strains of the Stooges via a distinct Pacific Northwest pop filter.. Fluid, Tad, Screaming Trees, Mudhoney etc..are easy points of reference.. but these songs have fire and melody in equal measure and burn their own path, recorded earlier this year with Steve Albini. Punk rock band Laurel Canyon – Nicholas Gillespie, Serg Cereja, and Dylan Loccarini – formed in 2019 when Nick and Serg met through a mutual friend in their hometown of Allentown, Pennsylvania. After connecting over a shared interest in both Arthur Rimbaud and The Stooges, the two began to rehearse together in Serg’s garage. By October 2020, Serg and Nick began composing original songs together as Laurel Canyon. Following their first release, “Two Times Emptiness” b/w “Enemy Lines,” in May 2021, Nick and Serg traded in their characteristic jangle for fuzz pedals and established a relationship with veteran producer Bryce Goggin (Pavement, The Lemonheads) at Trout Recording in Brooklyn. They released their 5-track EP “Victim” digitally on January 14, 2022, rounding out the line-up with bassist Dylan Loccarini. The artist Savage Pencil, who has created artwork for Big Black and Sonic Youth, drew the EP cover. Singles “Daddy’s Honey” and “Eczema” created a buzz online and were featured in Spotify playlists “All New Rock” and “Smells Like Stream Spirit.” Their debut LP, recorded by Bryce Goggin and Steve Albini, will be released in early 2023. More news on that real soon!

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

Ten years after its release, Tribes' 2012 debut album Baby is available on
vinyl for the first time in Europe
The deluxe edition includes multiple unreleased tracks and demos from their
2012 recording sessions. The reissue is also available in baby pink. Tribes are a
four-piece rock n roll band from Camden Town. Their debut album 'Baby' was a
top ten smash with the Guardian dubbing them the "saviours of British rock". They
parted ways in 2013 to work on various other projects but have recently reformed
to write and record a new studio album which is set for release in 2023. The
Guardian's review of Baby in 2012: "With Lloyd coming across like a latterday Ian
Hunter, the songs are big on riffs, hooks, choruses, sex and swagger, although
there's enough going on lyrically to suggest more depth than just sharp
songwriting."

Standard LP is on classic black vinyl. The Land of Kali’ (co-produced by Youth), is the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” The 7” release of ‘Prayer for Peace’ is exclusive to the 5 LP box set “Logically Yours” via The bands DTC site and features a picture of Lora and Poly together during their time living at the temple. Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Tracks: A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’… Bonus Track: Land of Kali – (Adamski's Kali-Kiss Remix) – CD only

Standard LP is on classic black vinyl. The Land of Kali’ (co-produced by Youth), is the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” The 7” release of ‘Prayer for Peace’ is exclusive to the 5 LP box set “Logically Yours” via The bands DTC site and features a picture of Lora and Poly together during their time living at the temple. Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Tracks: A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’… Bonus Track: Land of Kali – (Adamski's Kali-Kiss Remix) – CD only

Repress

The Vinyl Manual is the 21st century companion for anyone who is bringing their vinyl music collection back to life or discovering the joys of vinyl for the first time. With chapters on turntables and audio kit, it is a step-by-step guide to getting the most from your vinyl collection and understanding the technology behind it. We explain how vinyl delivers the unique sound so loved by audio enthusiasts and its evolution over 100 years, from the 78s of the late 19th century to today's advanced electronic formats.
As well as expert insight into setting up your system correctly and guides to choosing the right hardware for your music, the Haynes experts take you behind the scenes of the vinyl industry, including the super-clubs of the 1970s, 1980s and 1990s. We tell you the best way to build and curate your collection, from dance to rock to classical, and provide tips from the world's most respected professionals. Whether you are collecting, recording or just playing, the Vinyl Manual is the essential companion for any vinyl enthusiast.

Das neue Album ‚Untamed‘ der französischen Sleaze Rock-Formation BlackRain ist ein ebensolcher Fall. Obwohl mit ihren sechs bisherigen Ver-
öffentlichungen bereits etabliert und auch auf Tourneen (unter anderem mit Europe, Alice Cooper, Scorpions oder Steel Panther) sehr erfolgreich,
legt das Quartett um Sänger Swan jetzt ein Werk vor, das in jeder Hinsicht neue Qualitätsstandards setzt. „Wir lieben den kraftvollen Sound, die
knalligen Drums, diese tolle Mischung aus catchy Melodien und Aggressivität, die ‚Untamed‘ von Beginn an durchzieht“, freut sich Bassist Matthieu de la Roche und benennt auch gleich den Produzenten der neuen Wertarbeit: Hannes Braun, Frontmann der deutschen Hardrocker Kissin`
Dynamite und auch als Tonmeister eine feste Größe. De la Roche: „Hannes sagte zu uns: ´Ich liebe eure Songs, mich begeistert eure Show, ich
weiß genau, wie eure nächste Scheibe klingen sollte!` Dank seiner Hilfe haben wir exakt den Sound gefunden, den wir seit zehn Jahre suchen.“
Veröffentlicht wird ‚Untamed‘ am 25. November 2022 über Steamhammer/SPV. Man sollte sich den Termin im Kalender rot anstreichen!

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

This enthusiastic and erratic set of live performances from rock n' roll's perennial imp of the perverse, Alex Chilton, marks the first time anyone beyond the hardy handful who attended the first night of his UK solo shows will get an earful of Chilton's distorted stock of Memphis psychobilly at its best Includes 9 previously unissued cuts!

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print, on Clear Vinyl. 181.8 k Spotify Listeners, k Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. A poetic riff on Built to Spill’s album Keep It Like A Secret, and a tongue-in-cheek reference to the band’s “underground” status, instrumental duo El Ten Eleven’s fourth album is a brash and bold 12-track post-rock odyssey. It’s Still Like A Secret is back in print on Clear Vinyl. Track Listing: Ya No / The Sycophants Are Coming! The Sycophants Are Coming! / Indian Winter / Falling / Triangle Face / Ian Mackaye Was Right / Marriage Is the New Going Steady / Cease and Persist / Anxiety Is Cheap / Settling With Power / 83 / Tomorrow Is an Excuse for Today

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

True concept albums are actually few and far between. While it can be said that The Who’s Tommy and Quadrophenia, or Pink Floyd’s The Wall were designed from the ground up, that’s not necessarily the case for equally mythical, yet composite, albums such as Bowie’s The Rise And Fall of Ziggy Stardust…, or Lou Reed’s Berlin. In France, the genre established its pedigree in the 1970s with Serge Gainsbourg, then in the early 1980s with Léo Ferré. Cri d'amour by Mélanie Chédeville adds to this list of albums that tell a story through characters.

Cri d'amour was produced in a seaside setting, which may explain its flowing, organic character. It is all by herself that the violinist-by-training composed, wrote and arranged this collection of string-drenched songs that recall Jean-Claude Vannier’s work for Serge Gainsbourg. The latter would undoubtedly have been impressed by Mélanie’s fine-cut lyrics and melodies that are as raw as they are sophisticated, vocalized in a sprechgesang recalling his own. The deliberately retro palette, up to the bass sound so typical of 1960s English rock, betrays an artist indebted to the creator of Bonnie & Clyde and Initials B.B. through a sensual, clear tonality. Yet, polyrhythms borrowed from the late afro-beat legend Tony Allen, and the touches of guitar, piano, percussion and synthesizers distilled here and there by Éric and Mélanie, end up giving the whole affair a resolutely atemporal color.

Mélanie was sixteen with a head full of Beethoven and Brahms when she succumbed to an unexpected fascination for the world of Éric, a pianist, composer and sound engineer, who regularly delivered scores for Marc Dorcel’s X-rated films. She evokes him in L'Alpha-bêta and Le Pornographe, through whispered choruses that would suit the late Julee Cruise or Vanessa Daou to a tee, and explicit allusions to a “sword of Damocles” of “XXL” dimensions.

These are not the only texts on this album that remind us of the Franco-American author Anaïn Nin’s erotic poems, a model that Mélanie willingly takes on, adding to the list of her literary influences alongside Apollinaire and his Debauched Hospodar:

Some may find this album old-fashioned, which, far from being a flaw, is a credit to the fine musician that Mélanie is. Others will call it a charming album, which is not a bad way to describe it, provided that it is a powerfully relentless charm.

Live At The L.A. Forum präsentiert einen außergewöhnlichen Auftritt der Jimi Hendrix Experience im April 1969. Vor einem ausverkauften Haus spielten Hendrix, Schlagzeuger Mitch Mitchell und Bassist Noel Redding ein einzigartiges Set mit Highlights wie "I Don't Live Today", "Purple Haze", "Red House" und einem erstaunlichen Medley aus "Voodoo Child (Slight Return)" und "Sunshine Of Your Love" von Cream. Diese unverfälschte Aufnahme, die von Hendrix' langjährigem Tontechniker Eddie Kramer neu abgemischt wurde, fängt die Jimi Hendrix Experience in ihrer unvergleichlichen Hochform ein. Ein Teil dieses Auftritts war zuvor Teil einer kurzlebigen Westwood One Radio-Dokumentationsbox Lifelines 1990-1992, war aber seit zwei Jahrzehnten nicht mehr in irgendeiner Form erhältlich. Die CD-Veröffentlichung mit einem 24-seitigen Booklet - komplett mit Linernotes von Billy Gibbons von ZZ Top, der die Show aus erster Hand miterlebte - gibt diesem bahnbrechenden Auftritt die richtige Plattform und präsentiert den kompletten Auftritt, der direkt von den originalen 8-Spur-Masterbändern abgemischt wurde.Enregistrée au printemps 1969 devant un public déchaîné et à guichets fermés, la performance captivante de la formation originale (Jimi Hendrix, Mitch Mitchell et Noel Redding) n'a jamais été publiée dans son intégralité. Cet album sort à temps pour le 80e anniversaire de la naissance de Jimi Hendrix. Après le succès massif du tiercé gagnant Are You Experienced, Axis: Bold as Love, Electric Ladyland en 1967-68, le trio est devenu l'attraction internationale la plus populaire du rock. C'est au L.A. Forum que le groupe dévoile pour la première fois la fameuse reprise de « The Star Spangled Banner », que Jimi allait canoniser quatre mois plus tard à Woodstock. Le live comprend «Purple Haze» et un medley incendiaire de 17 minutes de « Voodoo Child (Return) » et « Sunshine Of Your Love » de Cream. Le concert a été enregistré simultanément par Wally Heider et Bill Halverson, et récemment remixé par Eddie Kramer, producteur et ingénieur de longue date de Hendrix, pour une fidélité audio maximale et inclut une préface de Billy Gibbons de ZZ Top, qui a assisté au concert en 1969.

A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno. The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard. Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa's band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan. ‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and interview with Yasuhiro Kohno by Tony Higgins.

Originally released in 2006 as a mini-CDr in a limited edition of 300
signed and numbered copies, this immersive selection of solo recordings
by Savage Republic, Scenic and Independent Project Records founder
Bruce Licher finally gets the expanded reissue treatment
Newly packaged in oversized die cut pocket folders complete with various inserts
to give a more complete artistic presence to the unique and special music that is
being shared. CD packaging is designed by world-renowned graphic design artist
Bruce Licher.
The three original tracks "recorded in the summer of '97 on a cassette 4-track" are
now accompanied by a fourth instrumental that ventures into atmospheric
electronic territory. The bonus track was composed on an old Roland SH-2000
synthesizer Licher found while living in Arizona; it is, rather fittingly, named
"Number 09" "an homage to the Beatles' most adventurous piece of
experimentation. 'Exploratorium' reclaims equal fondness for the natural and the
industrial. This inquisitive approach is made clearer "and intriguing" by the
unexpected pairing of the original three tracks with "Number 09". Whereas "Peak",
"Going Home" and "The Penstemon Field" eagerly play with stretching the role of
guitars and bass, "Number 09" takes its cue from the hypnotic synths of the
Human League's 12" from 1979 'The Dignity of Labour' and sets off for an
unconstrained sonic trip that goes from the jarring to the meditative. It's a
mesmerizing blend of ambient and post- rock, noisy shoegaze and pastoral
melodic structures, droning avant-garde and soundtracks at their most.

Dressed in a powder blue suit with the frilly shirt to match, DJ Yoda invites you to be his +1 for ‘Prom Nite’, his new album promising retro Americana full of daydreaming reverie, international megastar guests, trip hop acknowledging the likes of Morcheeba and Nightmares on Wax, and the turntable extraordinaire’s bread and butter of cuts, beats and rhymes.

Certainly no stranger to retro sounds having famously peppered his DJ and AV sets with the unexpected the world over, and his ‘How to Cut n Paste’ mix series going all the way back to the 30s, Yoda’s harp-laden puppy love vibe spreads from the sweet and mellow sound of 2019’s ‘Home Cooking’, an album described as ‘boundary-breaking’ by Mojo upon slotting nicely into the UK’s blooming jazz canon. Think deliciously harmonised doo-wop murmuring ‘Goodnight Sweetheart’ with an eye for dreamboats en route to Makeout Point – on ‘My Energy’, Eva Lazarus takes the form of an earth angel, with Yoda on jukebox cut-ups, taking it back to starry-eyed, clean cut days of wonder (or more recently, Little Mix’s ‘Love Me Like You’).

Beginning enigmatically with the assistance of Hollywood A-lister (and former next-door neighbour) Lily James, ‘Breathe’ demonstrate Yoda’s continued evolution as a musician (not to mention shrewd decision maker), with James’ vocal confidence - a little Lana del Rey to her breathiness - returning on the velvet-smooth ‘Airplane Mode’. It’s a smartly executed soundclash accentuated by LA rapper Choosey, the star of the album’s straightest hip-hop shooter ‘Harder I Rock’. Homeboy Sandman adds some kick to the prom punch with typical wordplay sent down ‘Coconut Grove’, and Liam Bailey is perfectly cast for the darkly cinematic sway of ‘Don’t Even Try It’.

On an album of many talking points, the LP’s crowning glory is opening single ‘Feel Like Home’: featuring the vocal comforts of the House Gospel Choir, it’s your go–to pick-me-up when the chips are down, targeting the hairs on the backs of necks like a softer focus version of Jamie xx’s ‘Loud Places’. Extended into an alternative, equally uplifting form by Beardyman’s ‘Don’t Mean Thing’, summer festival season already has its homecoming anthem.

With tongues wagging, the twists and turns step away from Heartbreak Ridge when O Love tucks into the mouthwatering shopping list funk of ‘Way Home’; and ‘Lesson 1956’, featuring Jamie Cullum and DJ Woody, jauntily pays homage to classic Cut Chemist alchemy, Yoda’s celebrated turntable tomfoolery back in full effect and extending the flavours found in ‘Home Cooking’.

Again maximising the experience and enjoyment gained from recording live instruments and prioritising songs over beats, Yoda continues to progress with a mixture of risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.

Magpie artwork supplied by London’s ENDLESS, whose signature style has tagged Liberty and Lagerfeld as but two high profile clients, Yoda again maximises the experience and enjoyment gained from recording live instruments and prioritising songs over beats. His continued progress mixes risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.

Featured 7” Vinyl singles:
Feel Like Home (feat. The House Gospel Choir)/ Don’t Mean A Thing (feat. Beardyman)
My Energy (feat. Eva Lazarus)/Lesson 1956 (feat. Jamie Cullum & DJ Woody)

Following the success of Aesop Rock's most recent solo album, Spirit World Field Guide, he returns to deliver the instrumental version of those interdimensional adventures. Aesop has long been celebrated for his talents as a lyricist, but he has continually grown and evolved as a producer as well. While the original Spirit World Field Guide was packed with insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe, the Spirit World Field Guide Instrumentals not only set the tone but also provide the roadmap for you to take your own journey. Welcome to the Spirit World. Explore with intention. "He's never before been such a commanding presence behind the boards. The beats here are the best of his career, full of torque and life." - Pitchfork "The strongest collection of beats he's ever produced." - Passion of the Weiss Official instrumentals from Aesop Rock's critically acclaimed album, Spirit World Field Guide, available for the first time. Album produced entirely by Aesop Rock, except for "Sleeper Car" produced by Hanni El Khatib. Additional album instrumentation provided by Grimace Federation and Hanni El Khatib Vinyl packaging includes 12" matte gatefold jacket, printed record sleeves, and one each of transparent cloudy effect green/blue double-vinyl, plus free digital download card. Album artwork illustrated by renowned artist Justin "Coro" Kaufman

For some, melancholy is the joy of being sad. But for A Rocket In Dub, the reawakened project of Düsseldorf producer Stefan Schwander, also known under pseudonyms like Antonelli Electr. or Harmonious Thelonious, Viktor Hugo's famous saying always applies. Two years ago, the Düsseldorf producer and musician released a 4x 7" box set on Krachladen Dub, his first release after a break of 17 years at the time. Now, two years later, 9 new tracks follow as a longplayer on double vinyl and music cassette. Even more experimental, more playful, more hypnotic and with a trombone! Monotony is nice! The rocket is back in the club, teaching genres like house and minimal Jamaican dub deepness again.

INTRODUCING: TRADER Hailing from Aarhus, Denmark, this explosive, close-knit four-piece have created what is best described as a sonic freight train. Equally noisy and catchy, the songs are driven by distortion, relentless drumming and an enchanting sense of directness. Throughout their existence Trader have thrilled audiences and critics alike, gaining a reputation as a riveting live band as well as trusted deliverers of potent rock anthems. This October, Trader will release their sophomore album “Their Best Work So Far”. The album sees Trader taking on a more diverse and dynamic sound while still homaging their beloved grand era of American 90’s alternative rock music. As the album title wittily indicates, the band took the ambition of good, sincere songwriting and craftsmanship as their cornerstones. To fulfill this ambition, the band relocated from the confines of their home studio to the legendary Silence Studio in Sweden - an old, refurbished two-storey school house hidden in the woods of small-town Koppom. This was the perfect remotion for Trader to escape the everyday humdrum and focus their piled-up energy into 9 songs. Being a hard-working band with no big commercial payoffs in sight can make you question if you chose the right path in life. Drummer Kristian Vissing elaborates: “We just had an anniversary at our old high school and met with our class mates from back then, who talked about how great it was to finish university and finally have a career going. These expectations from peers and society on how to lead a good and proper life can get you down sometimes and leave you with doubt. It’s sort of a theme on this album. We want to urge everyone to take a halt and enjoy where you’re at right now and not always have your eyes set on the future.” “Their Best Work So Far” is out on November 11 via Part Time Records.

Die UK Thrasher Onslaught sind mittlerweile zu einer der Bands geworden, die für die Brillanz und Ausdauer der aktuellen "Thrash Metal"-Szene stehen. Jedes Mal, wenn die Briten die Veröffentlichung einer neuen Platte ankündigen, ist die Begeisterung bei Fans und Kritikern rund um den Globus groß. 2020 ist es endlich wieder soweit. Angeführt von Gründungsmitglied Nige Rockett stehen Onslaught in den Startlöchern, um die Welt mit einem der heftigsten Thrash-Metal-Alben der vergangenen Jahre in Brand zu setzen: »Generation Antichrist«! Oder einfacher gesagt: Wer Metal extrem und brutal mag, der wird dieses Album definitiv lieben.

After his latest ‘Youth EP’ that experimented with spacious vocal chops and whimsical soundscapes, Nocow returns with a relentless flurry of blows on the heavily computerized ‘Magnit EP’ released on npm. Featuring gloriously broken melodies and hard-hitting rhythm, Nocow explores the darker, more formulaic side to his sound. Brooding acid-infused synths shimmer across the four tracks, morphing between moods as the EP progresses. ‘Magnit S’ kicks off the EP with scattered bass hits, driving dark techno arpeggios, and a hint of footwork-esque percussion. The intense atmosphere is a relatively new direction for Nocow, straying from his more meticulous, introverted beats prior. ‘Kali’ incorporates warbled synth with a more subdued rhythm, playing with a modular sound and distant echoes of robotic vocals. This fragmented track is more akin to his 2018 sound of the Voda/Vozduh/Zemlya trilogy as the kinetics of sound play a strongly defined role in the overall sonics. ‘Sputnik’ commences with a blistering arpeggio of bit-crushed synth and chimes. The rocket-propelled pacing creates a frantic, yet ultimately controlled piece, worthy of a place in a club 300 years from now. Yet, after the frenzy comes the calm. The closing track ‘Extasy’ grinds the EP to a kaleidoscopic halt. Vocoder passages drift across the dense soundscape as Nocow transports you to an other-world, filled with spacey percussion. This closer is a well-deserved return to solid ground, following the perpetual trio of dark, yet utterly compelling techno pieces. Once again, Nocow exhibits his multi-faceted approach to electronic music that truly sets him apart.

Symposium, the pop-punk band heralded as ‘the best live band in Britain’ by Melody Maker in the 90’s, release their first Best Of compilation: ‘Do You Remember How It Was?’ A compilation that gathers together their finest moments in one place and provides a fully rounded view of what made them so intoxicating in the first place. Symposium’s achievements in just six years of being a band read like a 90’s rock‘n’roll-call; supported by the likes of John Peel, Jo Whiley, and Steve Lamacq on BBC Radio 1, heralded by music mags such as Melody Maker, Kerrang! and NME, and performing on TV shows such as TFI Friday and Top of the Pops. During their appearance on Top of the Pops in 1997 performing ‘Fairweather Friend’ completely live, frontman Ross became the only singer in the show’s history to stage dive, and the band received only the third ever stage invasion from the audience after Nirvana and Oasis. This set contains the hit singles ‘Farewell To Twilight’, ‘Fairweather Friend’, ‘Drink The Sunshine’, and the previously unreleased track ‘Bleach’.

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release. After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time. That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi-instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

16)- return with their heaviest and most devastating record to date, Into Dust. The new album, a collection of cautionary tales of survival and redemption, is set to an amalgamation of sludge, punk, metal, hardcore, and stoner riffs, that could only be built through 30 years of commitment to their dark sonic craft, which -(16)- continues to improve upon. From the frantic opening of "Misfortune Teller" to the undeniable pounding and swagger of "Scrape the Rocks", Into Dust lives up to its name, as -(16)- beat the listener into submission through the lowest of ends and the sour, palpable malaise prevalent throughout the album's dozen tracks. "There's a story arc in the lyrics that start with an eviction notice served amid the ruins of Hurricane Irma in the Florida Keys, to running aground metaphorically and drowning in midlife, bearing witness to the modern suffering of hunger and poverty on the Mexico California border," guitarist and vocalist Bobby Ferry says. The negativity persists on tracks aptly titled "Null and Eternal Void", and the dizzying, pill-induced "The Floor Wins". Elsewhere, "Born on a Bar Stool" sends the listener off with a sobering album closer; ending on a foggy and rainy jazz-tinged San Francisco night, with an anti-drinking drinking song, proclaiming "Raise your glass all things pass".

Black & Opaque Silver vinyl. ZZK Records Presents Uji's TIMEBEING. A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentinian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America and its intersection with various strains of electronic music but Uji taps into traditions both musical and spiritual that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. Some of that mythology takes shape in the TIMEBEING film. Written by Uji himself, the eight-part opus has been brought to life by Jazmin Calcarami, who makes her directorial debut following years of working as an experimental make-up artist with the likes of Björk and Cirque de Soleil. On stage, the transportive TIMEBEING live show is set to premiere at the Artlab Cultural Center in Buenos Aires, where it will be debuted as a part of a weekly residency this spring. More than just a concert, it's a dazzling theatrical experience, complete with dancers, costume changes, arresting visuals and even an on-stage "ship" (shaped like mollusk) where Uji himself will perform. "What we see on the surface, is only that the surface," says Uji. "There is so much more. Music is the bridge and the possibilities are limitless." Track listing: 1. Mito 2. Oropo 3. Truenatruena 4. QuemaQuema (feat. Nyaruach) 5. Kinto 6. Lunay (feat. Zola Dubnikova) 7. Flechas 8. Sirios (feat. Kristine Barrett)

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12 IN MY ARMS [REPRISE]

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12. IN MY ARMS [REPRISE]

Seit ihrem Durchbruch mit dem umjubelten Debütalbum Black Holes haben die Blue Stones mitreißende Live-Shows abgeliefert, die die Gesetze
der Physik außer Kraft setzen und allein durch die beiden Bandmitglieder einen unfassbar massiven Sound erzeugen.
Auf ihrem dritten Album Pretty Monster fängt das Duo das kontrollierte Chaos und die brennende Energie ihres Live-Sets zum ersten Mal vollständig
ein - und baut dabei auf dem starken Songwriting und dem klanglichen Einfallsreichtum auf, den sie auf Black Holes (eine Veröffentlichung aus dem
Jahr 2018, die ihnen eine JUNO-Award-Nominierung als "Breakthrough Group of the Year" einbrachte) und dem 2021 folgenden Hidden Gems (eine
JUNO-Nominierung als "Rock Album of the Year") gezeigt haben. Trotz des kolossalen Wachstums, das sie seit ihren Anfängen in den Spelunken ihrer
kleinen Heimatstadt erfahren haben, versprühen The Blue Stones in jedem Stück gleichermaßen ungebremste Leidenschaft und einen fröhlichen
Abenteuergeist.
Pretty Monster wurde hauptsächlich vom mehrfachen GRAMMY-Preisträger Joe Chiccarelli (The White Stripes, The Strokes, Spoon) produziert und
entstand in 35 aufeinanderfolgenden Aufnahmetagen in einem Studio in Kingston, Ontario. In dieser Zeit arbeiteten Sänger/Gitarrist Tarek Jafar und
Schlagzeuger/Backing-Sänger Justin Tessier unermüdlich daran, die rohe Vitalität der Demos des Albums zu bewahren und gleichzeitig jeden Song
mit so vielen unerwarteten Details zu versehen (düstere Beats, rastlose Grooves, elegant frenetische Texturen). Das Ergebnis ist ein triumphales
Werk, das sich von dem eher atmosphärischen Sound von Hidden Gems abhebt (ein weithin gelobtes Werk, das drei Top-5-Radiohits in Kanada
hervorbrachte) und die harte Dynamik des Rock'n'Roll mit den unauslöschlichen Ohrwürmern des Pop verbindet

Fronted by brothers Peter O'Doherty and Reg Mombassa, Dog Trumpet have been playing, writing and recording their
music since the early 90s. Reg and Pete were founding members of iconic Australian band Mental As Anything, who hit
the charts around the world with “Live It Up”. The band made a mark with their left field mix of music, art, video and
humour and leading eventually to ARIA awards and induction into the Hall of Fame in 2009.
• Recorded and produced by Peter at home in his 'South Road' studio, the brothers have created an inventive and original
body of work distinguished by an eccentric and offbeat harmonic warmth and melodic drive propelled by Reg's distinctive
slide guitar and Peter's elegant acoustic guitar and mandolin. Their poetic, yet at times absurdist lyrics are set against a
sonic backdrop that could loosely be described as a meld of rock and roll, psychedelic folk, country and semi-abstract
blues.
• “Shadowland” is the duo’s brand new album, recorded earlier this year, with the guys playing all the instruments
themselves. Amidst a group of songs with all sorts of subject matter (including the sheep of New Zealand, and Nina Simone)
is the very direct “F***ing Idiots”, about the human race and its continuing desire to wage wars.
• The inner sleeve features all the lyrics and wonderful paintings by both Reg and Peter.

Dean Fertita has been at the heart of American rock ‘n’ roll for almost two decades, from his role as an invaluable member of Queens of the Stone Age and The Dead Weather, touring keyboardist with The Raconteurs, and backing musician on records by Jack White, Karen O, Iggy Pop, Brendan Benson, The Kills, Beck, and more. While his own music had been the focus in his role as lead singer, guitarist, and founder of The Waxwings and on recordings as Hello=Fire, Fertita began TROPICAL GOTHCLUB with no clear mission for a solo album under his own name. In early 2020, the TN-based musician put up a small A-frame in his backyard to use as a writing and recording space while stuck at home during the looming pandemic. With rare time on his hands, Fertita set to work recording demos of the many musical ideas he had accumulated over the years, building upon songs and fragments written during different stages of his busy career. Fertita then enlisted his old friend Dave Feeny – a veteran Detroit musician and owner of The Tempermill recording studios in Ferndale, MI – to help develop the recordings even further, pushing the original demos in deliberate new directions to create a showcase for his wide-ranging songcraft and visionary imagination.

Paving the way for independent artists with songs about love, loss and life, Low Island release their highly anticipated sophomore album, Life In Miniature, promising more ‘delicious alt pop’ (Clash) as the group follow in the footsteps of fellow ‘Oxford bands Glass Animals, Radiohead and Foals’ (Rolling Stone Germany).

It comes fresh off the back of their debut album, If You Could Have It All Again, which placed #17 in the Official UK Album Sales Chart and won them plaudits from Gigwise (‘truly engrossing’), Line of Best Fit (‘arena ready’), Double J, KCRW, Radio1, 6music and Zane Lowe, who described the bands ‘intellectual, soulful creativity.’ Their second album, Life In Miniature, sees Low Island continue to broaden the scope of their ambition, with a record that exquisitely balances stirring electronics, euphoric indie and infectious pop. It’s a record described by the band as a ‘timecapsule, a sonic photo album that captures three years of accelerated change that felt like a lifetime. Leaving home, falling in love, losing loved ones, trying to capture full complexity of emotion that all of those experiences engender.’

Setting that heartfelt lyricism against such a diverse range of sonic backdrops is something that Low Island have been devotedly fine-tuning over the years, firmly rooted in an independence that extends to everything from managing themselves and releasing their music on their own label, Emotional Interference. Its lead to an electrifying live show, which has seen them play festivals from Glastonbury to Lollapalooza Berlin, support synthpop legends Hot Chip and pack out their own shows everywhere from London to Berlin, Prague and Paris, prompting 6music’s Tom Robinson to prophesise that ‘we’ll have them rocking the Pyramid Stage yet, mark my words’.

Pressed On Clear Vinyl! 1991 was the year that it all broke loose for producer Pete Rock and his rhyme partner, CL Smooth. But the duo was far from an overnight sensation. The two friends had been on the grind since high school in Mt. Vernon, NY in the mid-'80s, and Pete had been building up to his big moment since he first manned the decks on WBLS's hugely influential 'In Control With Marley Marl' radio show, starting in 1987. In '91, Pete's talent finally forced him from the studio shadows into the spotlight, and after remixes and co-productions for Heavy D (1989's Big Tyme album); Johnny Gill ('Rub You The Right Way,' 1990); and Elektra label-mates Brand Nubian ('Slow Down,' 1990); it was time for top billing. As Pete's rep skyrocketed with a revolutionary remix to Public Enemy's 'Shut 'Em Down' in 1991, the stage was set. The duo's debut EP, 'All Souled Out', was the perfect set-up - and bridge to - their flawless LP, Mecca & The Soul Brother, which appeared only one year later. Fans new (thanks to a recent revival, resulting from the song's use in a Google / Android commercial) and old are sure to know the EP's only single, 'The Creator.' The cut is a perfect slice of early '90s hip-hop - jumpy, funky and rolling along at a sprinter's pace, with killer horns that sew up the chorus. Interestingly, it's the only song on the EP where Pete Rock rhymes (and solo at that, with lines written by Brand Nubian's Grand Puba). The remaining five of the EP's songs, with CL Smooth in full charge of the mic, are no less impressive. The sleeper is perhaps 'Go With The Flow,' a kinetic groover with an egregiously thick, muted bassline, surgical cuts and never-endingly captivating lines by the liquid-tongued CL. 'All Souled Out' boasts all of the Pete Rock trademarks - a jumpy, filtered bassline; beautifully stitched horn samples on the hook; and this time with a faster tempo. CL has no issues with Pete's BPM challenge, proving he can drop knowledge at any speed. And of two different versions of 'Good Life' on the platter, the EP's final cut, the 'Group Home Mix,' is perhaps the winner, with an abundance of musical action to back up CL's lyrical musings on ways to achieve success and comfort in life. 25 years after its initial impact, 'All Souled Out' sounds as heavy and essential as ever, and will remind fans how important this duo was to the artform.

Ringing from hi-fi headphones and blown-out boombox speakers alike
comes the overloaded guitar genius of "Easy Listening", a record of rock
n' roll daydreams and terminal boredom, and 2nd Grade's long awaited
second LP.Like a blue slushy on a hot day, Easy Listening is a sweet
respite
Like the Blue Angels touching down on the Las Vegas Strip, Easy Listening is
impossible to ignore. And like a janitor mopping up beer on the floor of the
Hollywood Palladium in 1972, hours after the Rolling Stones have finished
Ventilator Blues and climbed onto the bus, Easy Listening knows the glory and
cost of escapism, abandon, and the soul of rock n roll. Philadelphia's 2nd Grade
(Peter Gill, Catherine Dwyer, Jon Samuels, David Settle, and Fran Lyons) is a band
both obsessed with and worthy of rock stardom, and Easy Listening proves their
status as virtuosos of the power pop renaissance.Sonically and lyrically, Easy
Listening pays tribute to a guitar lineage linking the Stones to the Flamin'
Groovies, to Redd Kross and Guided By Voices. With its spiraling hooks and
handclapped quarter note beat, lead single Strung Out On You sounds like an
alternate reality post-Radio City Big Star cut. In 2nd Grade's world, music history
is a prism, not a linear progression. Famous teens transcend time on the outro to
Teenage Overpopulation, a shouted cacophony of names including Tommy
Stinson, Lizzie McGuire, and Joan of Arc. The line between the love of an
audience and that of a romantic partner is blurred on songs like Hands Down and
Me & My Blue Angels. Across the album, hi- fi and lo- fi styles splice together;
playful references and surreal hints of impossibility build a complex, believable
world atop a foundation of simple and sticky melodies that resonate on very first
listen. Pressed on Blue Jay Color vinyl.

Following the reissue of the self-titled debut by Tülay German & François Rabbath in 2021, we're presenting the 2nd and final part of our Tülay German reissues: "Homage to Nazım Hikmet" (1982). Once again in a duo setting with François Rabbath, Tülay German pays tribute to one of Turkey's greatest poets of the 20th century: Nazım
Hikmet (1902-1963).

Recorded in the early 80s this two-album workcycle refers heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) and consists of unique and modern interpretations of turkish folk songs unmatched to this day.

Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlası (1964) is now considered
the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice. But due to increasing repression Tülay German and her
lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had gained, she decides to quit the contract with Philips!

Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths in
her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly by
Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

Nazım Hikmet (1902-1963) is considered as one of Turkey's greatest poets of the 20th century, though during his lifetime his works were banned in Turkey for decades and he spent most of his life in prison or in exile. He is up to this day a huge reference for turkish writers,
musicians and intellectuals.

Tülay German ended her musical career in 1987. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.