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Der kanadische Sänger/Gitarrist JW-Jones, Billboard Top 10 Blues Artist, IBC-Gewinner 2020 und JUNO-Nominierter, ist mit seiner 12. Veröffentlichung zurück. Nachdem er bei der International Blues Challenge 2020 in Memphis als „Bester Gitarrist“ ausgezeichnet wurde, begann Jones mit der Arbeit an „Everything Now“, einem reinen Originalprojekt mit Special Guest Jimmie Vaughan und einer Produktion von Gordie Johnson (Big Sugar). "Lieder! Es dreht sich alles um die Songs!“ sagte der von JUNO nominierte Jones, dessen sengende Kunstfertigkeit in den letzten Jahren von den legendären Blueskünstlern Buddy Guy und Chuck Leavell (The Rolling Stones) gelobt wurde. „Während es viele brennende Leadgitarrensoli gibt, wollte ich mich öffnen und mit den Texten persönlicher denn je werden. Von der wahren Geschichte „Papa’s in the Pen“ bis „When You Left“, die ich mit Tränen über den Tod meiner Mutter gesungen habe, sind dies Geschichten, die ich endlich durch meine Musik teilen
kann.“

Presenting the third volume of forward-thinking electronics and peerless Jungle / D&B expressionism from iconoclastic Bristol producer and DJ, Krust. An artist who has always been pushing the sonic envelope while keeping dancefloors fully locked.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 3 serves us a plethora of unmissable highlights from Krust's enviable back catalogue. From the raw jump-up chaos of 'Rukus', the early rolling business of 'The Resister' to the epic genre defying voyage that is 'Soul In Motion', no stone is left unturned on what is - once again - an essential purchase for any serious lover of electronic music.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

Die Nachauflage von SOULFLY "Totem" erscheint als silberne LP.

Zu Beginn des neuen Jahrtausends erklärte der Rolling Stone: "Soulfly scheinen für die Ewigkeit gebaut". Mehr als zwei Jahrzehnte, unzählige Welttourneen und ein Dutzend Alben später scheint diese Prophezeiung wahr.

Als Ikone des Undergrounds, Wegbereiter des extremen Metals, Krieger der Dritten Welt und Anführer eines vielfältigen und engagierten Stammes überlebt Max Cavalera nicht nur, sondern gedeiht, indem er ein Killer-Riff nach dem anderen raushaut. Dieselbe Stimme, derselbe Körper und derselbe Geist, die Soulfly 1997 ins Leben riefen, beschwören auch heute noch unfassbar schweren Lärm herauf, der auf dem zwölften Soulfly-Album "Totem" zehn Scheiben monströser Musik abwirft.

Madeline Bells is an American soul singer who got her start as a session singer for Dusty Springfield, The Rolling Stones and Donna Summer. Her 1968 album ‘Doin’ Things’ features soothing vocals, exquisite production and encapsulates the soulful sound of the late 60s.

‘Doin’ Things’ is as perfect a representation of American soul as any that exists. First time ever reissued on vinyl. Originals fetch over $100

Very limited stock available on these. Picture Disc Vinyl Packaging: 2xLP zoetrope (animated) picture discs, 24x36 foldout poster in custom silkscreen PVC gatefold sleeve + download card. On their fifth album, Infinite Granite, Deafheaven are no longer toying with the juxtaposition of pitting metallic abrasion against swirling grandeur. Quite the opposite: Infinite Granite is a bold and brave leap forward, a gorgeous and invigorating album brimming with style and splendor. In the context of their catalog, it takes on a whole other layer of defiant beauty. Across Infinite Granite, vocalist George Clarke showcases a startling vocal range; falsettos, whispers, multi-part harmonies, and other adventurous vocal treatments, with his trademark black metal-inspired howls mostly absent. Guitarists Kerry McCoy and Shiv Mehra expand their sonic palette to include synth textures using them to enrich their astral guitar work rather than outright replace it. Drummer Daniel Tracy has always been a force to reckon with behind the kit, but where he used to floor audiences with his speed and stamina, he’s now free to broaden his approach and lay down authoritative drum patterns that together with bassist Christopher Johnson’s punchy bass lines anchor the band’s lofty arrangements. The refinement of their sound was further encouraged by producer Justin Meldal-Johnsen, who lent a pop ear to the record. Jack Shirley, who helped produce every previous Deafheaven album, remained on board to engineer the album along with additional engineering and mixing from nine-time Grammy Award winner Darrell Thorp. Ultimately, Infinite Granite is Deafheaven’s most goosebump-inducing album to date. Highlights: Follow up to 2018’s grammy nominated album Ordinary Corrupt Human Love and first full-length release with Sargent House. Deafheaven named ‘Artist of the Decade’ by Vice, along with albums featured in ‘Best of 2010s’ lists on Pitchfork, Rolling Stone, Metacritic, AV Club and many more. Three previous albums Sunbather, New Bermuda and Ordinary Corrupt Human Love have received incredible praise from press and named ‘Best New Music’ by Pitchfork. Deafheaven have scanned over 160k albums and streamed over 30 million tracks in the US alone.

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

The band’s first hits collection, from 1966, this 14-track hits collection is still one of pop music’s most compelling and potent singles compilations ever released. Reflecting the band’s remarkable run of singles through the early to mid-sixties, it includes six UK number ones!

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

Dimension Hatröss is the fourth studio album by the Canadian heavy metal band Voivod. It was released in 1988 on Noise Records and is a concept album which narrates the exploits of Voivod’s mascot cyborg Korgull.

The cover concept and artwork was produced by drummer Michel Langevin. Estimated sales are more than 70,000 copies, worldwide. In 2017, Dimension Hatröss was added by the US magazine Rolling Stone to its Top 100 Metal Albums of All Time list at No. 78.

The word Hatröss is pronounced by singer Snake (Denis Bélanger) in French as the word atroce, meaning terrible or horrible

Repress!

Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This second in the series pays homage to the unique sound of the Mirage releases. The influence of these releases on the SD sound that followed has often been overlooked, principally because it was assumed that the ‘Mirage’ moniker was simply another pseudonym for Source Direct, when in actual fact it was a lethal combination of the powerful engineering and arrangement skills of Jim Baker (Source Direct) and the sound selection and co-production of Odysee’s founder, Tilla Kemal (T-Mirage).

Face In The Shadows immediately opens with that slightly darker feel, with tracks like Feel My Dreams and Stonekiller in mind. The trademark SD style of break switches (aptly named ‘call & response) are immediately evident, although the Funky Mule gives the track its primary momentum. The sound selection is eerie, focusing on the 70’s Film-Noire, and deep Electro in line with Tilla’s particular preferences. The spoken word quotes are also unmistakably ‘Mirage-esque.’

Regenesis is a classic Odysee B-side track; lighter, more experimental and Jazzy in it’s feel. It showcases intricate and crisp rolling break work, and a beautifully refined selection of real stand- out musical quotes; from the sweet R&B-esque vocal ad-libs to the lush 70’s style sleaze of the Rhodes rolls. The interaction of these elements is the glue that holds this tune together.

The Darkness Within is the final track of the E.P. and it is the arrangement of samples that really emulates the ‘Mirage’ sound. Tilla & Jim were very particular about grouping sounds to work with & answer each other in each section of a tune. Samples were often sourced from obscure Film OST’s or rare electro albums which had sample diggers scratching their heads for many years! This track is dubbed out deeper, with a punching & rolling Soulpride features as the hero break and a repetitive deep chord stab forming the foundation of the tune.

Look out for the final instalment Volume III, where we will be focusing on the dystopian Jazz sound of the Hokusai releases!

Topaz Jones is a rapper, producer, and filmmaker from Montclair, NJ. Rooted in an independent ethic, Jones’ oeuvre moves to document and preserve the intimacy and intricacies of Black life. His music builds from a deep investment in community, concerning itself with all measures of time at once; his vantage effortlessly weaves through the (sur)real with generous detail and the sensitivity of one who’s lived many times before. It’s hip-hop for now, as informed by the depths of tradition - funk, soul, jazz - and a grand imagination for what’s to come. To experience Topaz Jones is to be greeted with unseen flavors of a collective familiar performer both decorated and versatile, Topaz Jones is a trailblazer across medium and genre. He shapeshifts with ease, rendering no stage or space unfit for his presence. He’s shared stages with Future, David Bryne, The Roots, and Moses Sumney, and been featured at Bonnaroo, Wireless Festival, and Rolling Loud. Jones’ music has amassed over 50 million streams, earning features in the likes of Vogue, Rolling Stone, The New York Times, Pitchfork, The FADER, and Okayplayer. In 2021, Jones released his critically- acclaimed second album Don’t Go Tellin’ Your Momma. The album’s accompanying short film, a collaboration with directorial duo rubberband., received a Short Film Jury Award at the 2021 Sundance Film Festival, and was acquired by The New York Times Op-Docs

Das norwegische Jazz-Trio Bushman's Revenge verbindet auf spannende und mitreißende Weise die Energie des Rock mit der Freiheit des Jazz. Das 2003 gegründete Trio hatte zwei Jahrzehnte Zeit, um verschiedene Wege und Klänge zu erkunden und dabei erfolgreich ein fast schon eigenes Genre zu schaffen, das zwischen Jazz und Rock pendelt und von dem prägnanten Gitarrenspiel von Helte Hermansen dominiert wird. Mit in den Feuilletons gefeierten Alben und über 300 Live-Auftritten auf der ganzen Welt haben sich Bushman's Revenge mittlerweile einen Ruf erworben. Jazzwise kommentierte, dass sie "wahnsinnig gut! David Fricke vom Rolling Stone bezeichnete sie z.B. als ‚eine Marshall-Amp-Version von John Coltranes 'Interstellar Space'". 'All the Better for Seeing You' ist ihr mittlerweile 11. Album, und 2023 markiert das 20-jähriges Bandjubiläum. Geheimtipp inkl. gestalterisch ansprechendem Artwork, das vor allem auf der LP-Version seine Wirkung hinterlässt.

Die norwegische Band Kvelertak hat sich in den letzten zehn Jahren zu einer echten Größe in der Metal-Szene entwickelt. Die Band, die von Rolling Stone und Stereogum mit wohlverdienten Auszeichnungen bedacht wurde, hat weltweit Hunderttausende von Fans und über 50 Millionen Streams auf DSP's angehäuft. All dieser Erfolg hat zu mehreren Nummer-eins-Alben und Spellemannprisen Awards (Norwegens Antwort auf die Grammys) in ihrem Heimatland geführt.

Bei früheren Alben arbeitete die Band unter anderem mit der Hardcore-Legende Kurt Ballou (Converge) zusammen und arbeitete mit Musikern wie Troy Sanders (Mastodon) zusammen. Die Band war auch schon mit legendären Bands wie Metallica und Slayer auf Tour.

Auf ihrem fünften Album "Endling" klingen Kvelertak größer und kreativer als je zuvor. Bewaffnet mit massiven Riffs, Black-Metal-Wildheit und ihrer bisher ambitioniertesten Instrumentierung beherrschen sie die Kunst, moderne Metal-Klassiker zu kreieren, die sowohl heftig sind als auch Spaß machen. Nach 15 Jahren in ihrer Karriere sind Kvelertak so unaufhaltsam wie eh und je.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Buffalo Nichols sophomore album, The Fatalist, is in stores September 15. Milwaukee, WI-based Buffalo Nichols today announced his anticipated new album The Fatalist will be released on September 15th, 2023 via Fat Possum, and shared its lead single: a dusky take on Blind Willie Johnson’s original "You're Gonna Need Somebody On Your Bond." The follow-up to his 2021 self-titled debut LP for Fat Possum–a critically acclaimed record that earned him his network television debut on The Late Show with Stephen Colbert, various major festival performances, and rave coverage via NPR Music (All Songs Considered, Tiny Desk (Home) Concert), Rolling Stone, Guitar World, Texas Monthly, and more–The Fatalist sounds unlike any blues record you’re likely to hear in 2023. The lead single’s video, directed by Samer Ghani, captures songwriter, guitarist, and vocalist Carl Nichols singing of salvation and relief in his soundscape that teems with the joyous claustrophobia of classic gospel. Sampled triggers of Charley Patton’s version connect the earliest blues recordings to the present, both singers’ voices urgent in their message. Nichols explains: “A traditional song made modern. Which aspects of ‘the Blues’ are essential? Is it a melody? A certain vocabulary? Delivery? Instrumentation? Is this still a blues song? And most importantly: who gets to decide? I tried to reimagine the blues with this song as if it were allowed to grow and progress uninterrupted, uncolonized and ungentrified.”

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

ENG 180 grm classic black vinyl, 2023 repress. At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning - rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Among its many riches, the album includes renditions of The National's epic "Fake Empire," Rancid's "Olympia, WA," The Rolling Stones' "She's A Rainbow," FKA twigs' "Mirrored Heart," and the Grateful Dead favorite, "Standing On The Moon."

Wowee Zowee, originally released by Matador in April 1995 on the eve of Pavement"s infamous mud-bespattered mainstage appearance at Lollapalooza, began life as a controversial release. Fresh off the success of Crooked Rain, Crooked Rain with its chart- topping Modern Rock hit "Cut Your Hair," the band went into the studio and came out with a deliberately chaotic and eclectic album that sounded nothing like its predecessor. With influences from the Groundhogs to the Frogs, Captain Beefheart to the more obscure mid- "80s central California hardcore bands featured on Maximum Rock"n"Roll comp "Not So Quiet On The Western Front", Wowee Zowee confused critics and alienated fans. "A masterpiece" - Rolling Stone "This album - and this band - is monument to camaraderie, absurdity, and the beauty of creation for creation"s sake" - Stereogum

Clear Vinyl

Repressed! Get On Down proudly present Mecca And The Soul Brother, the critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, “They Reminisce Over You (T.R.O.Y.)”, a dedication to their deceased friend; “Trouble T-Roy”, which went on to become not only their signature hit, but also one of Hip Hop’s all-time great songs. The album is propelled forward by Rock’s quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth’s liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece.
Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source’s 100 Greatest Rap Albums of all time.

Mango Vinyl. Leon Russell war einer der angesehensten Studiomusiker der Rockgeschichte. Er wirkte an einer überwältigenden Anzahl von Platten von Legenden wie Jerry Lee Lewis, Bobby Darin, Phil Spector, Frank Sinatra, den Byrds und den Beach Boys mit. Russells Solowerke profitierten von seinen erstaunlichen Seilschaften, Koryphäen wie George Harrison, Eric Clapton, Willie Nelson, verschiedene Rolling Stones und andere, verhalfen Russell im Laufe der Jahre seinen Alben den letzten Schliff zu geben. Als "Meister von Raum und Zeit" mischte Russell Südstaaten-Soul, Gospel, Country, Rock und den Piano Singer/Songwriter-Stil. "A Song For Leon" zelebriert Leons Leben und seine Karriere, ikonische Acts wie die Pixies, Orville Peck, Nathaniel Rateliff & the Night Sweats, U.S. Girls featuring Bootsy Collins, Durand Jones & The Indications und andere unglaubliche Künstler sind hier versammelt. "A Song For Leon" zeigt die Wirkung von Leon Russells Liedern in anderen, neuen Versionen seiner Musik.

Die norwegische Band Kvelertak hat sich in den letzten zehn Jahren zu einer echten Größe in der Metal-Szene entwickelt. Die Band, die von Rolling Stone und Stereogum mit wohlverdienten Auszeichnungen bedacht wurde, hat weltweit Hunderttausende von Fans und über 50 Millionen Streams auf DSP's angehäuft. All dieser Erfolg hat zu mehreren Nummer-eins-Alben und Spellemannprisen Awards (Norwegens Antwort auf die Grammys) in ihrem Heimatland geführt.

Bei früheren Alben arbeitete die Band unter anderem mit der Hardcore-Legende Kurt Ballou (Converge) zusammen und arbeitete mit Musikern wie Troy Sanders (Mastodon) zusammen. Die Band war auch schon mit legendären Bands wie Metallica und Slayer auf Tour.

Auf ihrem fünften Album "Endling" klingen Kvelertak größer und kreativer als je zuvor. Bewaffnet mit massiven Riffs, Black-Metal-Wildheit und ihrer bisher ambitioniertesten Instrumentierung beherrschen sie die Kunst, moderne Metal-Klassiker zu kreieren, die sowohl heftig sind als auch Spaß machen. Nach 15 Jahren in ihrer Karriere sind Kvelertak so unaufhaltsam wie eh und je.

From the towering influence of Charley Patton and Son House to lesser- known artists shrouded in mystery, these seminal recordings helped lay the foundations or the electric blues and rock explosion to come.

Producer Scrappy Jud Newcomb and Cleaves teamed up for the third time in early 2022 between Covid surges to record a new batch of songs, Slaid's first in five years.

Familiar themes of struggle and resilience will be a surprise to no one. As Scrappy puts it, "This album speaks to the hopeful, the hard working, the battered, confused, and the sad. But above all to the believers in the city of freedom that we heard in the stories of our youth and all those FM radio hits."

The first single, "Through the Dark," was co- written with Slaid's long- time collaborator and life- long friend, Rod Picott ("Broke Down," "Take Home Pay").

Slaid describes it simply as "a song about offering comfort in hard times."
Joseph Hudak of Rolling Stone calls Cleaves "a master storyteller, one influenced not by the shine of pop-culture but by the dirt of real life."

"More than 20 years into his career, Slaid Cleaves just keeps getting better . . .

There are few contemporaries that compare. He's become a master craftsman on the order of Guy Clark and John Prine." - Austin Chronicle

teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.

Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.

Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.

One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.

Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."

"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.

AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.

The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.

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

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

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

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

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



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

Track List

Welchem 60s-Fan klingen die Songs nicht in den Ohren: 'Painter Man', 'Making Time', 'Cool Jerk', 'Tom Tom', 'Biff Bang Pow', ihre ultra-coolen Versionen von 'Like A Rolling Stone' oder 'Hey Joe' und einige mehr. Speziell in Deutschland hatte die 1966 formierte Beat-Band um Gitarrist Eddie Phillips eine treue Fan-Gemeinde.. Stilistisch nah bei The Who und den Kinks wurde The Creation von deren Produzenten Shel Talmy produziert. Bis sich die Band 1968 erstmalig auflöste, entstand kein reines Studioalbum, aber jede Menge Single-Hits. Später wurde das legendäre Label von Alan McGee nach ihnen benannt. Das luxuriöse 2CD-Set im 7inch Format hält nochmal alle Klassiker bereit, die die Band in den 1960er Jahren aufgenommen hat. Die im Tracklisting reduzierte Halfspeed-Master-LP kommt mit dem dänischen Artwork , OBI-Strip, 4-Seiten-Booklet und natürlich auf 180Gr. Black Vinyl.

Blackball Records presents the 20th anniversary edition of Jawbreaker's beloved 1990 debut album Unfun--twelve groundbreaking tracks (sixteen on the CD) that captured the very inception of emo's big band and launched a galaxy of young, earnest bands and the scenes that love them. Unfun has been remastered by John Golden from the original analog tapes; the increased sampling rate boosts some of the bottom end and mid-range. It sounds fucking awesome. The vinyl version is available for the first time since 1992, and the CD and download versions of the record include the three-song Whack & Blite EP, as well as the 7-inch mix of "Busy" as an unlisted bonus track. This reissue features restored original artwork, and all formats include additional band photos from the time of recording. "Want" and "Fine Day" were in heavy rotation on college radio back in the day, and remained set list staples throughout Jawbreaker's run. Unfun wound up on a lot of fanzine top ten lists, and even the mainstream press took notice. Rolling Stone called it "a feast of heavy melody and righteous braying that roars along with all the spit and spirit of Husker Du's New Day Rising."

Next Pressing on White Vinyl, single LP w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions-sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective-and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art-itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack "Night City Aliens" and 2018's critically acclaimed album Only Love, which landed on 'Album of the Year' lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer.

Wild Is The Wind, Nina Simone’s sixth album for Philips, has all the variety her work for the label was known for—from the minimal title track to the traditional folk song “Black Is The Color Of My True Love’s Hair” to the banned-on-radio “Four Women”. In 2020, the album was ranked 212 on Rolling Stone's 500 Greatest Albums of All Time.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Hailed as "gospel titans" by Rolling Stone, the Blind Boys of Alabama defied the considerable odds stacked against them in the segregated South, working their way up from singing for pocket change to performing for three different presidents over the course of an 80-year career that saw them break down racial barriers, soundtrack the Civil Rights movement, and help redefine modern gospel music forever.

The five-time Grammy-winners’ latest album, Echoes Of The South, draws its name from the Birmingham radio program that hosted the group’s very first professional performance back in

1944. Pairing traditional spirituals and long-lost gospel classics with vintage soul and R&B tunes, the collection is as moving as it is timeless, transcending genre and era to touch something deep and fundamental about the human condition.

These are songs of love and friendship, joy and gratitude, faith and perseverance. Uplifting as they are, the recordings can feel bittersweet at times, too: 91-year-old Jimmy Carter retired from performing following the sessions, while two longtime members, Paul Beasley and Benjamin Moore, Jr., have since passed away. Despite the losses, the Blind Boys of Alabama show no signs of slowing down.

“The spirit of the Blind Boys isn’t about what you can’t do it’s about what you can do,” says singer Ricky McKinnie. “As long as we stay true to that, as long as we sing songs that touch the heart, this group will live on forever.”


The most honored and revered group in Gospel music.
Winners of 5 GRAMMY; including Lifetime Achievement.
Echoes of the South brings the group back to Muscle Shoals, Alabama to record, album produced by
Matt Ross-Spang and Ben Tanner, band features Phil Cook, Dennis Crouch and Chad Gamble.
Global touring schedule planned for 2023/2024.
Documentary film to be released in conjunction with the album, book on career to be released in early 2024.

Released via Sony CMG - Critically acclaimed country singer-songwriter Morgan Wade returns with her sophomore album 'Psychopath'. This is a x13 trk album, available on standard Black LP Vinyl & CD. When Wade released her debut album 'Reckless' in 2021, it became evident that the world needed to hear her sheer talent. Rolling Stone named it the Best Country Album of the Year, quite uncommon for a debut. Extensive promo & marketing activity across all media outlets. UK promo trip planned.

A landmark album, "Calculating Infinity" established DEP as one of the most groundbreaking and influential bands of the last 25 years. The record was heralded as "a realm above the noise and fury of everyday hardcore" (Rolling Stone). From the opening moments of "Sugar Coated Sour", to the ferocity of "43% Burnt" and "The Running Board", every moment of "Calculating Infinity" reverberates to this day with fans of all things experimental, aggressive, forward-thinking, and wholly heavy. "Calculating Infinity" is a snapshot of a truly special moment for underground music, of a band that would ultimately transcend the confines of mathcore, into a bonafide headliner across Metal, Hardcore, Punk, Noise, and Rock music

Yard Act veröffentlichen ihre brandneue Single ”The Trench Coat Museum”. Co-produziert von GorillazMitglied Remi Kabaka Jr., ist die Single die erste eigene Musik seit der Veröffentlichung ihres mit dem Mercury Prize ausgezeichneten Debütalbums „The Overload“ im Januar 2022.

Das Album zählt als bestverkauftes Album auf Vinyl des ersten Quartals 2022, The Sunday Times kürte es zum Album der Woche und Rolling Stone UK ernannte die britische Indie-Rock-Band zudem zur besten Band bei den Rolling Stone UK Awards.

Einige Singles wurden von Radiosendern wie BBC 6 Music als „Tune Of The Week“ ausgezeichnet, darunter „Payday“, „Pour Another“ und „100% Endurance“. Letztere wurde in einer speziellen Version mit PopIkone Elton John veröffentlicht. Das zugehörige Musikvideo wurde bei den letztjährigen UK Music Video Awards in den Kategorien Best Alternative Video und Best Performance in a Video nominiert.

2022 wurde Yard Act außerdem mit dem „Grulke Prize for Developing non-US Act“ ausgezeichnet.

Die Single wird als 12‘‘ Vinyl erhältlich sein.

Aufgenommen in Berlin und auf Abstand zwischen 2020 und 2021, legt die Band ihr 19. abendfüllendes Studioalbum vor. Fire Doesn't Grow On Trees ist der Beginn einer aufregenden neuen Phase für Newcombe und seiner Band. Mit ihm im Studio und über Video/Mail haben Ricky Maymi (Gitarre), Ryan Carlson Van Kriedt (Keyboards), Hakon Adalsteinsson (Gitarre), Hallberg Dadi Hallbergsson (Bass) und Uri Rennert (Schlagzeug) an diesem Album gearbeitet. Die Band befindet im Frühling auf einer 34 Termine umfassenden Tournee in Nordamerika mit Mercury Rev, mit Festivalauftritten bei Levitation in Angers, Frankreich im Juni, Elevation in Graz, Österreich im Juli und NOX ORAE in der Schweiz im August, die Tourneen in Europa ist für September 2022 geplant plus einer weiteren im Februar 2023. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber in den 2000er Jahren hat sich seine Arbeit in ästhetische Dimensionen ausgeweitet, die sich dem britischen Shoegazing-Genre der 1990er Jahre annähern und Einflüsse aus der Weltmusik, insbesondere aus dem Nahen Osten und Brasilien mit einbezieht. "The Real" ist der erste Vorbote des Albums.

Clear Vinyl

Aufgenommen in Berlin und aus der Ferne, zwischen 2020 und 2022, kehrt die Band mit ihrem 20. Studioalbum zurück, nach dem letztjährigen “Fire Doesen’t Grow on Trees“ dem zweiten Teil einer aufregenden neuen Phase für Anton Newcombe und seiner Band. Mit ihm im Studio waren Hakon Adalsteinsson (Gitarre), & Uri Rennert (Schlagzeug). Die Band ging 2022 auf Tour und absolvierte u.a. eine 34 Shows umfassende äußerst erfolgreiche Tournee in Nordamerika mit Mercury Rev und The Magic Castles. Eine neue Tour zur Unterstützung des neuen Albums steht im Januar 2023 in Großbritannien an und wird im Februar in Europa fortgesetzt. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber seit den 2000er Jahren hat sich seine Arbeit in vielen ästhetische Dimensionen ausgeweitet und sich u.a. dem britischen Shoegaze-Genre der 1990er Jahre annähert und Einflüsse aus Weltmusik, insbesondere der Musik des Nahen Ostens und Brasiliens, miteinbezieht.

Mit dem Debütalbum „Old Time Feeling“ stellte sich 2020 die amerikanische Sängerin, Songschreiberin und Gitarristin S.G. Goodman vor. Goodman steht knietief in der Tradition des Southern Rock und verbindet ihn mit Country, Singer-Songwriter-Kultur und hier und da auch mal knackigem Rock and Roll. In ihren Texten legt die Künstlerin den Finger dahin wo es weh tut und in ihrer Musik flirtet sie des Öfteren so charmant mit Indie-Sounds, dass man sie keineswegs als konservativ oder „retro“ bezeichnen kann, auch
wenn sie musikalisch an klassische Vorbilder anknüpft. Der Rolling Stone legte sie beispielsweise allen Fans
von PJ Harvey ans Herz.

„Teeth Marks“ ist S.G. Goodmans zweites Album auf Verve Forecast, wie der Vorgänger wurde es produziert von Jim James von der Band My Morning Jacket. James über Goodman: „Ich denke, sie könnte
eine wichtige Rolle bei dem Heilungsprozess spielen, den wir unbedingt brauchen. Sie ist der lebende Beweis dafür, dass wir sein können, wer wir wollen, egal woher wir kommen.“