Search:rock with u

“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

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.

2022 repress of 2010’s GAF & The Love Supreme Arkestra’s debut album - another tour de force from this multi faceted band, showcasing its surprising chameleonic ease of play with multi references to space rock, free jazz and the raw German sound of the early 70's. Electric mantras meet hazy synthesizers and gaseous guitar drones float weightlessly into the cosmos.
If Carl Sagan had a chance to listen to pieces such as “Shine” or the sublime “Decata na sunceto”, he would surely turn into their unconditional fan.

‘The Jacaranda’ is a debut EP for GUSTAFFSON. Produced by Elbows award-winning Craig Potter. It’s a record inspired by Liverpool’s iconic music venue The Jacaranda club. A place where Andrew would go as a teenager to listen to records and write his music.

An EP that really focuses on Andrew's lyrics and storytelling, leaning towards Alternative Rock. With an emphasis on shining a spotlight on ordinary people, places or things but in an extraordinary way.

Frontman and lyricist Andrew is an actor. He has been on our TV screens since 2010, appearing in award-winning dramas such as BLACK MIRROR, OUTLANDER, BEING HUMAN and most recently CARNIVAL ROW.

At the turn of the century and after three albums, Karate’s tenure within the insular east coast indie rock scene had expired, but the band was just getting started. Collected here is the band’s spacious, adventurous, and sometimes difficult second half presented in fastidious detail. This five LP box includes the trio’s Unsolved, Some Boots, and Pockets albums, a first time vinyl pressing of their Cancel/Sing EP, and recently unearthed rehearsal recordings of two unreleased tracks, all annotated by Geoff Farina’s account of Karate’s adulthood and Andy Hong’s insights into the trio’s recording process.

At the turn of the century and after three albums, Karate’s tenure within the insular east coast indie rock scene had expired, but the band was just getting started. Collected here is the band’s spacious, adventurous, and sometimes difficult second half presented in fastidious detail. This five LP box includes the trio’s Unsolved, Some Boots, and Pockets albums, a first time vinyl pressing of their Cancel/Sing EP, and recently unearthed rehearsal recordings of two unreleased tracks, all annotated by Geoff Farina’s account of Karate’s adulthood and Andy Hong’s insights into the trio’s recording process.

Storyteller's two albums were released by Britain's then foremost folk label, Transatlantic, their eponymous debut LP in 1970, and their last will and testament, 'More Pages', in 1971. This Svart reissue of 'More Pages' comes after the successful reissue of the band's debut album last year, and this one is likewise restricted to 500 copies on black vinyl. 'More Pages' has been hard to find as a full album, because the Storyteller CD reissue consists of the full first album and only a portion of the second. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

When it comes to post-Dylan psychedelic folk with acid-tinged dreams look no further than legendary 60s Greenwich Village figure Randy Burns. His beautiful string of albums released between ’66 and ’71 on New York’s mythical ESP-Disk are all you need if you’re a loner folk fanatic. ‘Of Love And War’, ‘Evening Of The Magician’ & ‘Song For An Uncertain Lady’ are the source, eerie acoustic ballads, folk-rock that travels wide and distant over melancholy flute arrangements and country grooves. “The Exit And Gaslight Years 1965-69” collects all the best cuts from that an era, opening a crystal clear window on the inspiring work of Randy Burns. RIYL: Fred Neil, Ed Askew, Dave Bixby, F.C. McMahon, Mike Hurley. Genre: Folk / Acid-Folk Track list: 1. Evening Of The Magician 2. Echos Of Mary's Song 3. Standing At Your Door 4. Girl From England 5. When Daylight Comes In Everything 6. Song For An Uncertain Lady 7. Ron's Song 8. Autumn On Your Mind 9. Maybeline 10. Any Tuesday In The Rain 11. Waiting For An Old Friend / Africa 12. Deegan Street

When it comes to post-Dylan psychedelic folk with acid-tinged dreams look no further than legendary 60s Greenwich Village figure Randy Burns. His beautiful string of albums released between ’66 and ’71 on New York’s mythical ESP-Disk are all you need if you’re a loner folk fanatic. ‘Of Love And War’, ‘Evening Of The Magician’ & ‘Song For An Uncertain Lady’ are the source, eerie acoustic ballads, folk-rock that travels wide and distant over melancholy flute arrangements and country grooves. “The Exit And Gaslight Years 1965-69” collects all the best cuts from that an era, opening a crystal clear window on the inspiring work of Randy Burns. RIYL: Fred Neil, Ed Askew, Dave Bixby, F.C. McMahon, Mike Hurley. Genre: Folk / Acid-Folk Track list: 1. Evening Of The Magician 2. Echos Of Mary's Song 3. Standing At Your Door 4. Girl From England 5. When Daylight Comes In Everything 6. Song For An Uncertain Lady 7. Ron's Song 8. Autumn On Your Mind 9. Maybeline 10. Any Tuesday In The Rain 11. Waiting For An Old Friend / Africa 12. Deegan Street

Originally released in 2004, El Ten Eleven’s self-titled LP has been embraced by fans of many genres - from math rock, to jazz, to lo-fi hip-hop. The duo's sound is sharply evocative in mood and feeling, yet simultaneously abstract and meditative. Back in print on Gold Vinyl. Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print, on Gold Vinyl. 181.8 k Spotify Listeners, 7.5 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Track Listing: My Only Swerving / Sorry About Your Irony / Lorge / 1969 Central Nervous Piston / Thinking Loudly / Fanshawe / Connie / Bye Mom

On El Ten Eleven’s These Promises Are Being Videotaped (2008) the Los Angeles post-rock duo pays tribute to bassist Kristian Dunn’s obsession with his hometown’s underground dance scene. Eight songs of electronic glitching (“Jumping Frenchmen of Maine”), explosive drum soloing (“Fat Gym Riot”), and blistering rhythms (“K10”). Back in print on Amber Vinyl. Track Listing: Jumping Frenchmen of Maine / I Like Van Halen Because My Sister / Says They Are Cool / Fat Gym Riot / Adam and Nathan Totally Kick Ass / K10 Paranoid Android / Chino / Numb Tooth

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

One of the rarest private pressings from the US, originally released in 1972 by this band from Mansfiel, Ohio. Psychedelic hard rock with a charming, homemade feel. Including the monster psych opus "Song Of A Sinner" plus more cool tracks with great guitar/organ interplay.

*Sourced from the original master tapes

*Hard cardboard sleeve + OBI

*Insert with liner notes by band member Steve Geary and photos

*Digital Download Card

"...one of the original legends of the private and local press scene..."
- Patrick Lundborg (Acid Archives)

Formed in New York in 1985, The Optic Nerve were children of Nuggets who dreamed about the Velvet Underground but looked like the Byrds.

Their take on '65-66 jangly garage-folk-rock was unrivalled.

Lotta Nerve collects their fabulous early 45s plus studio tracks for what should have been their aborted first album.

Originally released in 1994 and out of print for many years, here’s a new vinyl edition with new artwork and remastered sound.

*Insert with detailed liner notes and photos

*Digital Download Card

RIYL: Byrds, Love, Gene Clark, Leaves, Dylan, Emitt Rhodes...

The Isley Brothers “Knowledge is power. I’m a witness to that. Our parents wanted us to have a complete musical education. They exposed us to everything, classical to country, standards, show tunes.” Ronald Isley, Mojo Magazine, 2000 The Isley Brothers have delighted audiences since the 1950’s and are celebrating their eighth decade in show business. Morphing from their roots in gospel and doo-wop through funk, rock and then, finally, into slow-jam R&B, the Isley Brothers remain one of the most fascinating groups of all time.
This album contains some of the most life-affirming music ever recorded: Ronald Isley’s keening yelp offering strength and sensitivity as it is supported by brothers Rudolph and O’Kelly. Our collection picks up their story in 1969. By this time, they had been recording for 12 years for many legendary labels, from RCA, to Atlantic, to Motown.
The brothers decided to go it alone on their own label, T-Neck. The repurposed Isleys broke onto the scene with the US R&B No.1/Hot 100 No. 2, ‘It’s Your Thing’. The album of the same name was a Top 30 smash and the group’s decision was vindicated. ‘It’s Your Thing’ marked a meeting point of influences: Sly Stone, James Brown, gospel and one-time group member Jimi Hendrix, laying the template for the Isleys’ next decade, from the gritty rock covers of Givin’ It Back to the era-defining ‘3 + 3’ (with the formal addition of the two younger Isleys, Ernie and Marvin, plus brother-in-law Chris Jasper).
After the 1972 release of ‘Brother, Brother, Brother’ (featuring the classic ‘Work To Do’) T-Neck moved to CBS leading to their first Platinum-selling album (1973’s ‘3+3’). Produced with Malcolm Cecil and Robert Margouleff, ‘3+3’ was practically prescribed to every soul boy in the UK (witness Wham’s cover of ‘If You Were There’). For the Isleys to take their old R&B hit, ‘Who’s That Lady’ and turn it into hard-rocking psychedelic soul was a blazing statement of their
intent. Their version of Seals and Croft’s pretty ‘Summer Breeze’ became one of their biggest hits, with Ronald and Ernie stamping their authority on the ballad. A period of phenomenal success followed. For every standout ballad (‘For The Love Of You’, or ‘The Highways Of My Life’), there was strident, take-no-prisoners political funk - as typified by ‘Fight The Power’, a US R&B No. 1 in 1975.
It was written by Ernie on the same day as another of their greatest moments, ‘Harvest For The World’.
This collection is a beautiful overview to the group, a most fabulous re-introduction to old friends. This era is affectionately known by the Isleys as the ‘gold and platinum years’ - one listen and you will understand why.

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that ‘Requiem’, their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced ‘Oh Death’ - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, ‘Oh Death’ is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious ‘70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. ‘Oh Death’ is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning.

Double LP, Gatefold sleeve, DL card with Bonus tracks. 2CD Gatefold wallet + booklet. Remastered and re-appraised 31-track collection of Pearls Before Swine rarities from the private tape collection of the late, great Tom Rapp. Also available as an expanded 45 track double CD collection. For the first time on vinyl, this beautiful collection brings together alternate versions of Rapp originals ‘The Jeweler’, ‘Translucent Carriages’ and ‘Rocket Man’. It also includes jaw-dropping covers of Rapp’s contemporaries Cohen, Dylan and Joni Mitchell, with bonus download material featuring seven amazing live versions plus a never before released intimate show at The Other End circa 1976. A goldmine of possibilities from a prospector with a silver tongue and stories to tell. ‘The Wizard Of Is’ is a weird and wonderful trip inside its creator’s mind, from sonnets and space hymns to stories of revolution and the war. It’s an American Gothic fantasy that straddles old tyme America and the outer edges of an imagined stratosphere. “Extremely influential.” Rolling Stone. // “A more intoxicating version of folk psychedelia.” Wire magazine. // “Shimmering folk hymns.” Spin magazine. // “Unabashedly poetic.” Crawdaddy. // Track listings: VINYL Side A A1 Where Is Love? A2 Butterflies (Alternate Version) A3 Love, You Are Not Alone A4 Grace Street A5 Translucent Carriages (Alternate Version) A6 Space. Side B B1 Rocket Man (Alternate Version) B2 City Of Gold (Alternate Version) B3 For Free B4 Wizard Of Is (Alternate Version) B5 Riegal (Alternate Version) B6 Sail Away (Alternate Version) B7 Footnote/When The War Began. Side C C1 Everybody's Got Pain (Alternate Version) C2 Crawling Towards Bethlehem C3 I'm Going To The City (Alternate Version) C4 Can't Go Back C5 Prisoner Of War C6 Another Time (Alternate Version) C7 If You Don't Want To (I Don't Mind) (Alternate Version) C8 (Oh Dear) Miss Morse (Alternate Version). Side D D1 The Jeweler (Alternate Version) D2 The Lincoln Dream D3 There's No Other (Like My Baby) D4 Roadside Hotel D5 Song About A Rose (Alternate Version) D6 Mary Mary D7 Crew Man D8 Suzanne D9 Oh Sister D10 Full Fathom Five/I Shall Not Care. Bonus download tracks: 1 Translucent Carriages (Live) 2 Island Lady (Live) 3 Morning Song (Live) 4 Marshall (Live) 5 Ballad to An Amber Lady / I Saw the World (Live) 6 Prayers Of Action / Candle (Live) 7 Rocket Man (Live)……. CD. Disc One: 1 Where Is The Love? 2 Butterflies (Alternate Version) 3 Love, You Are Not Alone 4 Grace Street 5 Translucent Carriages (Alternate Version) 6 Space 7 Rocket Man (Alternate Version) 8 City Of Gold (Alternate Version) 9 For Free 10 Wizard Of Is (Alternate Version) 11 Riegal (Alternate Version) 12 Sail Away (Alternate Version) 13 Footnote / When The War Began 14 Translucent Carriages (Live) 15 Island Lady (Live) 16 Morning Song (Live) 17 Marshall (Live) 18 Ballad to An Amber Lady / I Saw the World (Live) 19 Prayers Of Action / Candle (Live) 20 Rocket Man (Live)… Disc Two: 1 Everybody's Got Pain (Alternate Version) 2 Crawling Towards Bethlehem 3 I'm Going To The City (Alternate Version) 4 Can't Go Back 5 Prisoner Of War 6 Another Time (Alternate Version) 7 If You Don't Want To (I Don't Mind) (Alternate Version) 8 (Oh Dear) Miss Morse (Alternate Version) 9 The Jeweler (Alternate Version) 10 The Lincoln Dream 11 There's No Other (Like My Baby) 12 Roadside Hotel 13 Song About A Rose (Alternate Version) 14 Mary Mary 15 Crew Man 16 Suzanne (Alternate Version) 17 Oh Sister 18 Full Fathom Five / I Shall Not Care 19 Frog In The Window (Live at The Other End, 1972) 20 There Was A Man (Live at The Other End, 1972) 21 The Jeweler (Live at The Other End, 1972) 22 Another Time (Live at The Other End, 1972) 23 Every Change Is A Release (Live at The Other End, 1972) 24 Rocket Man (Live at The Other End, 1972) 25 Love/Sex (Live at The Other End, 1972)

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

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

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

Fresh off the back of a sell-out spring tour celebrating the 10 year anniversary of the bands much lauded third album Men's Needs, Women's Needs, What-ever (which saw them headline their largest show to date at Leeds First Direct Arena), The Cribs release their new record 24-7 Rock Star Shit. Recorded live to tape in just 5 days by venerated underground engineer Steve Albini (Nirvana, Shellac, Pixies) 24-7 Rock Star Shit marks a return to the bands early roots with it's raw, rough-around-the-edges approach and sonic aggression. Originally conceived during recording sessions for the bands fifth album In The Belly Of The Brazen Bull these recordings were elevated to quasi-mythical status amongst the bands famously dedicated fan-base, with excitement building for a "punk album" flipside to 2015's more pop-leaning For All My Sisters. Originally intended as an EP, once sessions were completed the band found that they had recorded enough material for an album and decided it should be released that way instead - "That approach just really suits us, we were just having too much fun I guess" laughs the band.

Sunking is the experimental sights and sounds of Seattle natives Bobby Granfelt & Antoine Martel, an outlet for the duo whose music is "steeped in funk, fusion, and the dreamier end of the rock spectrum," said Seattle"s The Stranger. The Stranger also went on to say that "this city needs more groups like sunking, who flit among genres such as hip-hop, jazz, and shoegaze rock while messing with the DNAs of each style they address." Both Granfelt and Martel are also members of High Pulp, a jazz collective that draws influences from punk rock, shoegaze, hip-hop, and electronic music. Also signed to ANTI-, their album "Pursuit of Ends" came out in April of this year. "High Pulp blend old-school bebop with contemporary soul and electronica vibes, as though someone convinced the ghost of Duke Ellington to reinterpret a Chemical Brothers album," said the A.V. Club.

Fresh off the back of a sell-out spring tour celebrating the 10 year anniversary of the bands much lauded third album Men's Needs, Women's Needs, What-ever (which saw them headline their largest show to date at Leeds First Direct Arena), The Cribs release their new record 24-7 Rock Star Shit. Recorded live to tape in just 5 days by venerated underground engineer Steve Albini (Nirvana, Shellac, Pixies) 24-7 Rock Star Shit marks a return to the bands early roots with it's raw, rough-around-the-edges approach and sonic aggression. Originally conceived during recording sessions for the bands fifth album In The Belly Of The Brazen Bull these recordings were elevated to quasi-mythical status amongst the bands famously dedicated fan-base, with excitement building for a "punk album" flipside to 2015's more pop-leaning For All My Sisters. Originally intended as an EP, once sessions were completed the band found that they had recorded enough material for an album and decided it should be released that way instead - "That approach just really suits us, we were just having too much fun I guess" laughs the band.

The Jive Aces are the UK's top jive and swing band and are renowned for their high-energy jump jive and spectacular stage show in their hallmark yellow suits. The band’s repertoire stretches from the timeless tunes of the swing era to the glitz of the Rat Pack, with a dash of rhythm & blues, swinging jazz and the roots of Rock ‘n’ Roll and Elvis.
Originally forming in London the band gained steady success year by year and are the first live band to reach the semi-finals of "Britain’s Got Talent" famously putting grumpy Simon Cowell “in a good mood”. This was followed by a performance to the late Her Majesty The Queen as part of her Diamond Jubilee celebrations. They are unquestionably the UK’s finest band in their genre.
They performed at hundreds of festivals including Glastonbury, Montreux Jazz Festival and The Hop Farm Festival to name a few. They also headlined and sold out the first ever swing dance at the Royal Albert Hall. By popular demand the band will be featuring in their own show in London’s West End at the Aldwych Theatre this December.
During the pandemic, the band performed consecutively for over 500 days with free concerts on line to cheer people up and help get through the tough times.The band has a one month US tour scheduled for 2023 and diary full of shows throughout UK and Europe. They are in constant demand.

FIRST VINYL (VOL. 1)
SIDE 1:
1. I’m Gonna Sit Right Down And Write Myself A Letter
2. On A Slow Boat To China
3. Sweet Sue, Just You
4. On The Sunny Side Of The Street
5. Jeepers Creepers
6. It’s Been A Long, Long Time
SIDE 2:
7. I Can’t Give You Anything But Love
8. It Had To Be You
9. Wrap Your Troubles in Dreams
10. Ain’t She Sweet
11. I’m Confessin’ That I Love You/ It’s Only A Paper Moon
12. Ain’t Misbehavin’

SECOND VINYL (VOL. 2)
SIDE 3:
1. Rock ’n’ Roll Movie Star
2. Feeling Happy
3. Mama, He Treats Your Daughter Mean
4. No. 13 (Fruit Boots)
5. Choo Choo Ch’Boogie
6. Giddy Up A Ding Dong
SIDE 4:
7. Bad News
8. Alright, OK, You Win
9. I Want You to Be My Baby
10. Rock ’n’ Roll Boogie
11. Ain’t Nobody Here But Us Chickens
12. Jump, Jive and Wail

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

Meltdown was the fourth smash hit album from Ash. The album again reached No.5 within the UK and has since become a gold record. The hard rock album contains mega hits including Clones, Orpheus, Starcrossed, Renegade Cavalcade and Meltdown.

Ash and BMG are proud to reissue Ash’s fourth LP ‘Meltdown for the first time on Orange and Black splatter vinyl. This album has not been re-issued since it’s 2004 release, so will be an exciting prospect within the Ash community. Meltdown contains hit after hit and with its hard rock sound resonates strongly with a wide audience. Upon release Ash drew critical acclaim from multiple publications including Pitchfork, The Guardian, Drowned In Sound and many more, whilst touring with allusive contemporaries The Darkness, and headlining Coachella Festival.

Sacred Bones has curated an LP of original Ya Ho Wa 13 and Father Yod and the Spirit of '76 (the musical projects of the Brotherhood of the Source) music from their rich and prolific recording history. For those not familiar, Ya Ho Wa 13, formed in 1973, are regarded as one of the most extreme, groundbreaking and influential psychedelic rock bands in history. The band released nine super rare LPs (and are rumored to have recorded 60 LPs worth) full of deep spiritual wisdom, tribal drums and distorted guitars, some of which were completely unrehearsed jam sessions, others which contained more conventional rock songs. Most were recorded after hours of meditation at 3:00-6:00 a.m. in a soundproofed garage that served as the musicians' studio at the family's communal residence. All of the records with Father Yod's participation were completely improvised, with no rehearsals or overdubs and feature him on lead vocals and percussion, via a kettle drum. Most of their original music was pressed in small runs and are highly sought after collector's items. Sacred Bones are super excited to have listened through hours and hours of this transformative music to bring you what they think is an absolutely essential compilation of some of their best songs.

Sunsleeper was halfway through the touring cycle for their debut album when the pandemic halted live music. For the Salt Lake City indie rockers, that pause allowed them to reframe what their journey as musicians and people inspires them to create and say. After forming in 2016 and briskly realizing their Nathan Hussey-produced debut EP Stay the Same, the band entered the studio for their debut album, inking a deal with Rude Records. You Can Miss Something and Not Want it Back dropped in summer 2019, with the band celebrating with runs featuring their collaborators and friends in All Get Out, an Audiotree live session, and most recently, a run with TWIABP and Bent Knee in fall 2021.While the pandemic still rages on in uncertain terms, Sunsleeper found themselves more solidified than ever writing their sophomore LP, with their road-tested lineup collaborating cohesively and with united goals. While You Can was recorded and produced by Brett Romnes (Oso Oso, Hot Mulligan) and mastered by Will Putney (Counterparts, Knocked Loose). Enlisting heavyweight personnel across scenes and genres underlines what the band views as this album’s mission: to connect with and inspire as many listeners as possible while venturing into their most daring and expansive material to date.

Here is the much anticipated volume 3 of the HOT SAUCE compilation LPs dedicated to the Trojan related UK labels between 1965 and 1975.

HOT SAUCE VOLUME 3 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits.

The record labels showcased on this third volume are Amalgamated, Duke, Gayfeet, Grape, Harry J, Rio, Randy’s, Treasure Isle, Upsetter and Trojan. The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.

These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting with the Rocksteady songs on the A side and the 70s songs on the B side.

HOT SAUCE is a musical journey across early Jamaican Reggae - highlighting its diverse musical genres and outstanding artists – as it was once published by the U.K. record labels during this golden decade…

Since the early 70s “Tighten Up” series, no compilations have really explored these labels in depth on vinyl.

Tiny Blue Ghost are a band possessed. Haunt- ing, melodic vocals soar over a dreamy landscape of floating guitars, washy drums, and meandering bass that can pull suddenly into focus at a mo- ments notice. Moving seamlessly across genre to genre, Tiny Blue Ghost can’t simply be defined by any single label- unless you want to come up with a new term for a band that blends the best parts of bedroom pop, shoegaze, twee, indie, post-rock, and college rock.

Kram is a new project featuring members from Sudakistan - On the
project, Kram has moved on from Sudakistan's trademark combination of
punk, garage rock, psychedelia and latino rhythms in favour of a more
atmospheric sound that takes influence from kraut and hip hop but also
Swedish indie rock and pop without losing the energy that made
Sudakistan one of Scandinavia's most loved live bands and lead them to
EU, UK & US tours featuring appearances on festivals such as Roskilde
and SXSW
The album is out released by PNKSLM Recordings (ShitKid, Les Big Byrd, Sibille
Attar etc.)

"Ramblin' Soul was inspired by the new appreciation I had for the freedom to travel around the country and perform," explains lifelong wanderer Melissa Carper of her forthcoming album. Carper was relieved and energized to be back on the road, on a familiar pilgrimage from Texas to Arkansas and back to meet and collaborate with musician friends. "I had taken for granted the ability to interact with audiences and friends and how much it feeds my soul and my creative process," she adds. Feeling inspired by time on the road and time with other creative minds, she penned the title track on the way back home, and the Ramblin' Soul seeds were planted. From its conception and throughout the recording process, Ramblin' Soul seemed to take on a life of its own. "It wasn't what I had first planned," Carper recalls. "A couple of the songs we recorded I'm now saving for a future album, and there are some brand new songs I decided to add, including one that was written during the week of recording. Thematically, I had a handful of songs about rambling around and living a free life that I wanted to weave through the album. I also knew I wanted Ramblin' Soul to have a different feel than my previous release, Daddy's Country Gold, with more upbeat and diverse styles and grooves," she says. Ramblin' Soul features a co-write with friend Gina Gallina, a song penned by friend and frequent collaborator Brennen Leigh, a reimagined classic from folk pioneer Odetta and 10 Carper originals--venturing into her blues, early rock 'n roll, and soul influences, blended with her signature flavors of country, western swing, and jazz. There is something for everyone on Ramblin' Soul.

The sound company operating under the project name "Noiseshaper" is poised to release a very special vinyl album into record shops worldwide. The band received great acclaim for their first albums, which were released on the legendary and famous Rockers Hifi label Different Drummer. They later became celebrated for their musical contribution to the US television series CSI - Miami ! The Viennese coffeetable boys Axel Hirn und Florian Fleischmann achieved cult status with their 12-inch single "The Only Redeemer", which was later released in the US by Quango (Island Records /Palm Pictures) and fast became a permanent fixture on the playlists of the best and most popular DJs in Berlin, Vienna, Tokyo, Paris, London and New York. The next dancefloor filler followed with "All A Dem A Do", sung by Juggla, which was the band"s first release to get heavy rotation on many European and US radio stations. Next up were remixes by and for heavyweights such as Sly & Robbie, Outkast, Seven Dub and Carl Douglas. Noiseshaper"s defining sound has been distilled and condensed an utterly distinctive blend of "housey downbeats with a fat reggae flavour" has brought the Noiseshapers international acclaim and popularity. The very special VINYL release is the essential of what NOISESHAPER has ever done all over the years with a special focus on HEAVY bass remixes by Adrian Sherwood & Paolo Baldini. It is another very impressive display of how a musical style has progressed. Dub as a style with all its reference points between commerce and innovation ! 8 pounding dub flavour tunes all are best for bringing the dancefloors of the dub universe to boiling point. Heavy bass for heavy dancing!

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

MP3 album download included. Best New Music… 9.2 // ‘Dear Science’ cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. — NME // Dear Science reprograms old‐school rock thrills for an ear‐budded nation, using surprising juxtapositions to explode familiar sounds. — Rolling Stone // (Dear Science) boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. — The Guardian // The band’s third studio album released in 2008, Dear Science, opened with vintage TVOTR, but the nostalgia does not last. With Dear Science, the band continue to push the limit with sonic experiments that fill out the rest of the album. Track Listing: 1 Halfway Home 2 Crying 3 Dancing Choose 4 Stork & Owl 5 Golden Age 6 Family Tree 7 Red Dress 8 Love Dog 9 Shout Me Out 10 DLZ 11 Lover’s Day

MP3 album download included. Best New Music… 9.2 // ‘Dear Science’ cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. — NME // Dear Science reprograms old‐school rock thrills for an ear‐budded nation, using surprising juxtapositions to explode familiar sounds. — Rolling Stone // (Dear Science) boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. — The Guardian // The band’s third studio album released in 2008, Dear Science, opened with vintage TVOTR, but the nostalgia does not last. With Dear Science, the band continue to push the limit with sonic experiments that fill out the rest of the album. Track Listing: 1 Halfway Home 2 Crying 3 Dancing Choose 4 Stork & Owl 5 Golden Age 6 Family Tree 7 Red Dress 8 Love Dog 9 Shout Me Out 10 DLZ 11 Lover’s Day

It's been 5 years since Nicolas Cubillos started his musical odyssey with his band Lachinos. In 2020 they released their first EP America Lachina with the label Goutte d'Or Records. Through these four songs full of lysergic magic, they offer an ode to Latin American music that was danced at home.
In the fall of 2022, Lachinos will release his second EP entitled Costa Brava, still on Goutte d'Or Records. This record, which mixes surf rock, merengue, cha cha cha and cumbia with Japanese tints, is a sincere exploration through their colorful and festive universe.
With the added bonus of two brilliant remixes by Voilaaa and Matias Aguayo Currently, the group is composed of important actors of the avant-garde music scene in Peru and Colombia: Ernesto Velarde
(Moldes, Juan Wauters) on drums, Santiago Jimenez (Mamíferos, Las Migrañas) on keyboards and vocals, John Socha (Romperayo, Nkumba System, the Caribbean Makina) on bass.

John Scofield's first guitar-solo-recording ever gives a résumé of all the
influences and idioms he has cultivated over his career in performances
on guitar, accompanied by his own rhythmic pulse and chordal backing
using a loop machine
Besides jazz, John is known to have always also had a soft spot for the rock and
roll and country music he grew up with, revealed here in unencumbered renditions
of Buddy Holly's "Not Fade Away" and Hank Williams' "You Win Again". Between
elegant and personal readings of standards, like "It Could Happen To You", the
traditional "Danny Boy" and Keith Jarret's "Coral", Scofield presents his own
timeless compositions - some new, others known.
For the guitarist, it's all about "the way you get the sound out of the string and
what you do with it after you attack it."
John Scofield: electric guitar and looper
Press:
"Scofield is as fiery as ever, plugged in and using loops to give himself a
background groove on some of his gritty originals or putting a punkish spin on
romantic ballads." - **** The Times
"This isn't an album to listen to in a hurry; but if you were pressed for time, the last
two tracks alone would give you a sense of Scofield's extraordinary range. The
bebop- heavy Trance De Jour is antic, angular, questing. But then we close with
You Win Again, a Hank Williams cover, serene as a sunset over the prairie." - ****
The Daily Telegraph
"Here he has distilled his decades in this crazy business into a baker's dozen of
songs that may appear modest in ambition - only one track runs to more than five
minutes, several run to barely three - yet is mighty in impact...This album needed
no other title. This is John Scofield." - **** Jazzwise
"(8/10) The result offers an intimate insight to Sco's skills as both guitarist and
arranger. It's a late-night album - quiet, introspective and really quite beautiful, too,
with Sco's musical soul laid bare before us." - Guitarist