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A bit of blues here, a bit of rock there, and maybe even a little jazzy improvisation, with numerous inspirations from the folk music of various cultures, and the never absent, albeit not always conscious Turkish modes and vaguely reminisced melodies.
A songwriter accompanied by a team of marvellous musicians who left an important imprint on the Turkish music scene since the 80s. Bülent Somay, an academic, writer, translator, political activist, educator and musician, is a former member of the Turkish Jazz-rock-fusion group Mozaik. He rolls up his sleeves and dusts off some old songs that were never published before with 'a little help from his friends'.

The first encounters of Chassol with Indian music date from his teenage years where, thanks to John Mc Laughlin and his band Shakti, he could hear ragas, rhythm structures and Indian instruments mixed with jazz.

Then came Ravi Shankar, Hariprasad Chaurasia and the devotional songs.
More recently, the documentaries by Louis Malle (Phantom India) and by Johan van der Keuken (The Eye Above The Well) left their marks on him and after having harmonized New-Orleans in "Nola Cherie", the choice to attempt at an harmonization of life, sounds, motifs, noises and traffic from Northern India quite naturally grew on him.

In Calcutta and Varanasi, India's most ancient city, he went to shoot sitarists, percussionists, singers, dancers, the kids, the Ganga, the city and the apparent chaos of the traffic.

Indiamore spreads over four movements, one same tonal harmonic suite of warm and real pop chords that marries the modal Indian music usually resting on a sole continuous bass line played by the tampura.

In repeating these images, in treating their sound as a music material and in harmonizing the actors' speech with his own harmonic obsessions, he achieves to blend a documentary approach into a

Lyon, France’s Meurtrières has not strayed far from their original goal of writing old-school, epic heavy metal with medieval overtones on their newest effort, Ronde De Nuit. If anything, the band (consisting of new vocalist Fiona, the guitar tandem of Flo Spector and Olivier, bassist Xavier and drummer Thomas) has taken what they started on their well-received 2020 self-titled EP and added new layers of complexity and depth. It is the natural transition for a band gaining more confidence in its songwriting abilities. Yet the noticeable change starts in the vocal spot. Out is the original frontwoman Fleur and in her place is Fiona. Meurtrières wasted little time introducing Fiona — the band started playing live shows and writing new material with her right after the release of the EP, thus, giving Meurtrières ample time to hone its new material. And Fiona fits the band’s hard-charging, gallant music like a glove, coming away with a stronghold of fiery, epic choruses — all sung in the Meurtrières’ native tongue. The lyrical subject matter on Ronde De Nuit still spans the medieval domain but with increased emphasis on paintings by Rembrandt (The Night Watch) and Johann Heinrich (Füssli). The band aimed to make the songs “pictorial,” reflecting imaginary portraits to draw in the listener. Except for “Aucun Homme, Aucun Dogme, Aucune Croix” (which is a known French medieval legend about a real woman), the songs on Ronde De Nuit are based on fantasy with a desired fate: All the depicted characters are doomed to tragedy, for in the world of Meurtrières, there is no such thing as crowned kings and queens and even glorious warriors. Artwork by Ivan Brun rounds out a package that perfectly ties in thematically with the desperate and dark themes of the lyrics. It is a fitting component to an album laced with stunning visuals and epic, old-school metal of the highest order!

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Das selbstbetitelte Saccades-Debüt 2017 bedeutete für Nicholas Wood eine Abkehr von der düsteren Atmosphäre und den monumentalen Klanglandschaften von The KVB hin zu einem reduzierten, psychedelischen Gitarrensound. Der Nachfolger 'Flowing Fades' (2021) überzeugte mit Synths und Einflüssen wie J.G. Ballard, Serge Gainsbourg, 80er-Dream-Pop und Yacht-Rock. 'Land Of The Hearth', benannt nach einer Jonathon Meades-Passage, steht für den Übergang von den nächtlichen Klanglandschaften und Industrial-Beats von The KVB hin zu einer balearischen Sensibilität. Das neue Album hat eine sonnenverwöhnte, traumhafte Qualität und erinnert gelegentlich an die erhebende Stimmung der House-Musik.

Vinyl includes lyric booklet with hand-written lyrics and exclusive photos and download card. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris, the Brooklyn-based Artist is back with her fifth LP, entitled I Am What I’m Waiting For, on Colemine/Karma Chief Records. Co-Written and Produced by Torbitt Schwartz (Run The Jewels, Killer Mike, Rubble Kings, Chin Chin), this collection is Kendra’s most personal album to date. It was spring of 2022 and Kendra had just released Nine Lives, her first new album in almost a decade and her first release on Colemine Records. She felt an urgency to get back into the studio, but something felt different this time. Returning to her usual ways, places, and people that she had been creating with felt like dragging herself back to a familiar and comfortable place - but that wasn’t what she was looking for. “I had to step into a new, unknown process because I knew it was the only way that I’d continue to grow,” she explained. She took a small batch of songs to Torbitt’s studio and the two began to write. “He challenged me to find the best version of every lyric,” she shared. “When I listen back, I’m so proud of the time we spent, because every single line is deliberate. I challenged myself to write just to write. No love songs this time around. Torbitt and I wanted to create a record that felt like you cracked open the ooze in my head. There are a lot of layers to me but I only recently through age and experience have fully accepted the weird little nuances that I’m made of. I’m a messy introvert that pretends to be an extrovert so I can feel like I fit in.” From top to bottom, I Am What I’m Waiting For is sincere. It’s a fresh take on a timeless sound, and Kendra exudes power. “My heart has always been in soul music,” she shared. “On this record, you’ll hear my influences and then some. You’ll hear all the bits of me….the vulnerable bits, the silly bits, all of it.This record is my melting pot.” Whether you’re a longtime listener or just now beginning to explore the whimsical world of Kendra Morris, the relatable lyrics and modern soul sounds on I Am What I’m Waiting For are sure to turn you into a fan

new music in nearly 30 years Includes 11 brand new songs written by the band The Cowsills will be on the road through 2023 supporting the new record Some of the best music made in the last 60 years has been delivered by musical families. Think about it . . . The Everly Brothers, The Beach Boys, Bee Gees, The Jackson 5, The Staple Singers, Pointer Sisters, Kings Of Leon, Oasis . . . and The Cowsills! Starting in 1965, The Cowsills was composed of six siblings, performing their instruments and singing those glorious harmonies as only families can. Originally starting as a regional act (from Newport, Rhode Island), the group was “founded” by Joda Records owners Danny Sims and reggae/pop singer Johnny Nash (“I Can See Clearly Now”) in the mid-’60s for whom they recorded a handful of singles before turning towards more national recognition when they were signed to MGM Records in 1967. At this point, the group’s mother Barbara and young sister Susan joined the act and they were awarded a Gold record for over one million copies sold of their very first single for MGM, the sublime, “The Rain, The Park & Other Things.” This began a series of chart records that dominated the Top 40 for the next three years. Among the classic Cowsills recordings are “We Can Fly,” “Indian Lake,” “Hair” (from the rock musical Hair), and “Love American Style” (the theme song from the popular ABC-TV show of the same name). The group also recorded and charted with five successful albums during this time period. The band and their story were even the inspiration for the popular 1970s sitcom The Partridge Family. The group was also a prosperous touring attraction up through 1972, spreading their harmonious hope and love to an adoring fan base. They even had their own comic book published in 1968. As all families do, the group went through a series of changes, disbanding in 1972. But music never left the soul of this tuneful and melodic kin. Over the years, the group, as individuals, continued to make music and even reunited in 1978 and 1993 to make historic records that are woefully out of print. Now, nearly 30 years after their last recordings as a group, The Cowsills are returning with new music for the new world! Omnivore Recordings is proud to announce the release of Rhythm Of The World. Eleven brand new songs written by the band. The ambassadors of goodwill and love will be on the road through 2023 thrilling fans with their classic hits and soon to be new favorites!

The Tallest Man On Earth - the project of Swedish musician Kristian Matsson - presents Too Late For Edelweiss, an album of new covers out ANTI. With Too Late For Edelweiss, Matsson weaves together a sparse collection of home recordings made in Sweden and North Carolina, captured fresh off a 39-date run with the adrenaline of tour rattling through his veins. The songs on Too Late For Edelweiss have been with Matsson since he started playing music as The Tallest Man on Earth in 2006. In those early years, Matsson used to perform "Lost Highway" by Hank Williams before he had enough songs to flesh out a full set. In July 2022, Matsson released a cover of Swedish super star Håkan Hellström"s "För sent för Edelweiss," a precious song that has been The Tallest Man"s walk-on music before every performance for over a decade and what inspired the title of this covers album. Since then, in the lead-up to this announcement, he has quietly released other selections, including Lucinda Williams" "Metal Firecracker," Yo La Tengo"s "Tears Are In Your Eyes" and now "Lost Highway." Mattson explains, "When I was a teenager I borrowed a Hank Williams album at the local library, and "Lost Highway" has been haunting me ever since. Many vocal sound checks throughout my career have heard Hank"s advice." As much as Too Late For Edelweiss feels like a scrapbook, an intimate memento with the ghosts of The Tallest Man"s earlier, sparser sound hovering at the edges, it"s also just the artifact of a moment - a flash of joy, of feeling recharged, of feeling good. These are the songs that happened to be in Matsson"s head at the time he sat down to record It came together so simply and easily - and in that way, it"s the purest distillation of making music - and being a fan of it, charting the connective tissue of a songwriter"s life.

Lovely Little Girls is a theatrical art-rock band from Chicago that features
members of Cheer-Accident and The Flying Luttenbachers - They
specialize in odd harmonies and catchy melodies served with a histrionic
flair
"Effusive Supreme", their third LP for SKiN GRAFT Records, delves into more
personal and abstract territory, highlighting the utilitarian and fetishistic
relationship to shoes on one track, while enthusiastically accepting ego- death's
indifferent embrace on the next. Equally informed by Magma and Dead Kennedys,
Lovely Little Girls pull from a range that runs the gamut yards past the finish line -
everything from Esquivel to Toto.
PRESS QUOTES:
"What makes Lovely Little Girls unique is the care for complex arrangements,
creating quirky prog- no wave hybrids... impressive psychodramas of melodic
detours and anguished explosions - full of theatrical uneasiness" - ChainDLK
"Stuns listeners into submission with heavy doses of horns and lyrical flogging.
Equal parts jazz, prog, and avant- garde, this horde of provocateurs revels in
disturbing the peace" - Razorcake
"Lovely Little Girls deal in absurd and jarring contrasts. The group's knotty,
intricate songs heave and dance and skitter - sometimes gracefully dexterous
and sometimes grotesquely lumpy - but clearly the work of formidably talented
musicians with vivid imaginations. Jacobsen's demented lead vocals flicker from
frighteningly histrionic to carefully declamatory, with eruptions of abject mania or
borderline obscenity, while behind him a chorus of singers might deliver a
pristine, almost angelic chant of "the pain, the horror"... - Chicago Reader
"Lovely Little Girls are your favourite cartoon villains, plotting the takeover of the
city before the Joker does" - The Organ

LaVette! hits all the marks
Together with Jay-Vee Records, Bettye has the freedom to explore new territory.
Produced by Steve Jordan, LaVette! features 11 songs written by Georgia- born
musician Randall Bramblett, who has been releasing solo albums since 1975.
"Randall is the best writer that I have heard in the last 30 years," says Bettye. "He
writes songs that are little soliloquies, they're like little stories about a moment, or
a thing."
Featuring Anthony Hamilton, John Mayer, Jon Batiste, Steve Winwood, Pedrito
Martinez and Ray Parker Jr.
The vinyl features an extra track, "What You Didn't Say".

If you've seen David Lynch's classic film Mulholland Dr, you might
recognize the title of Paerish's third full-length, You're In Both Dreams
(And You're Scared) - It's a line spoken by one of the two men having a
conversation in that movie's incongruous diner scene - Paerish vocalist/
guitarist Mathias Court was watching the film for maybe the tenth time
last year, and, given the insecurity of being a musician during the COVID
pandemic, that line stood out to him like never before
Given that Paerish was formed when Court was at film school with bassist Martin
Dupraz, it's little surprise that the band--now completed by guitarist Frederic Wah
and drummer Loic Fouquet--would use a cinematic reference for its title. The first
two records were peppered with them, and many of their songs started with Court
fiddling with his guitar while watching something in the hopes that he'd capture
the emotion of whatever was onscreen. This time around, the title is the only
thing directly inspired by the moving image. Whereas on 2016's Semi Finalists
and 2021's Fixed It All, Court would utilize other people's art to draw parallels to
how he was feeling, this time it was his own internal wranglings that influenced
his songwriting.
By December 2021, Court had demoed the album. A year later, Paerish flew to
Philadelphia to record with Will Yip. The band's familiarity with Yip lends a natural
confidence to this album that disproves the very insecurities that inspired it. It
turned into the album Paerish have always wanted to make.
"When I listen to these songs," says Court, "I almost don't realize this is our album.
I feel like we got even closer to our final form. This is the one we've been wanting
since we were kids. I'm so proud of it.

Clear Vinyl. They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's `Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

Arrangement- wise, the impulse to keep things simple was a pendulum swing
away from his Grammy-nominated 2018 album, 'Evening Machines'. "I set out to
make a record that was really bare bones," Isakov says. "I wanted to go backward
a little bit, because 'Evening Machines' was such a deep dive into arrangements. I
wanted to have more of a raw experience with this one."Isakov played many of
the instruments on 'Appaloosa Bones' himself. He recorded in a studio tucked
away in a barn on his property outside of Boulder, Colorado, where he helps grow
produce for CSA members, local restaurants, and an area food bank. The
resulting album is intimate and hushed, but maybe not as spare as what Isakov
initially had in mind. The eleven songs on the album are full of lush vocal
harmonies and layers of instrumental textures that blend guitar, banjo, piano, and
various other keyboards.

Repress!

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.

The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day… until now.

Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.

“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.

Brian Jackson: “I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen – with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well… here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Gegründet von Sänger Jake E (ex-AMARANTHE) und Gitarrist Jesper Strömblad (ex-IN FLAMES), hat sich CYHRA von einer Band, die an die früheren Projekte des Duos erinnert, zu einer ganz eigenen Identität entwickelt.

Mit der Ergänzung von Lead-Gitarrist Euge Valovirta (ex-SHINING) und Schlagzeuger Alex Landenburg (KAMELOT) hat die Gruppe zwei von der Kritik gefeierte Alben veröffentlicht: “Letters To Myself“ (Spinefarm) aus dem Jahr 2017 und “No Halos In Hell“ (Nuclear Blast) aus dem Jahr 2019 - ein Album, das von Rock TV (Japan) als "Bestes Album des Jahres 2019" ausgezeichnet und vom Power Play Magazine (UK) mit einer perfekten 10/10 bewertet wurde!

Und jetzt, im Jahr 2023, ist die Band mit dem kürzlich hinzugekommenen Gitarristen Marcus Sunesson (ex-THE CROWN / ENGEL) bereit, sich mit ihrem dritten und bisher stärksten Album „The Vertigo Trigger“ zurückzumelden.

Sänger Jake E.: "Ich denke, dass wir einen fantastischen Nachfolger für die ersten beiden Alben gemacht haben. Gleichzeitig haben wir es auch geschafft, das Songwriting zu modernisieren. Ich kann euch versichern, dass kein CYHRA-Fan enttäuscht sein wird!“

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Die Grammy-nominierte amerikanische Schauspielerin, Sängerin und Songwriterin erregte mit ihrem mit Platin ausgezeichneten Debütalbum „So Real“ erstmals 1999 Aufmerksamkeit. Es folgten Hauptrollen in Film + TV und eine Reihe weiterer äußerst erfolgreicher Pop-Alben. Für die Hauptrolle in der gefeierten TV-Serie ”This Is Us” erhielt sie Emmy- und Golden Globe-Nominierungen.

Vom Teenager ist Mandy Moore zur erfolgreichen erwachsenen Künstlerin gereift. Noch immer lässt sich prächtig streiten: ist sie eine singende Schauspielerin oder eine schauspielernde Sängerin? Fakt ist: Moores achtes Studioalbum „In Real Life“ ist erneut ein gelungenes, erwachsenes Pop/Rock-Werk und ein weiterer
künstlerischer Schritt für die inzwischen 37-jährige, die einst mit Teenage-Pop-Hits berühmt wurde.

The tenor sax master attacks five standards and in the process produces some of
his most intense performances on record. Taped at the Van Gelder Studio in one
marathon session on July 8th 1965, this electrifying Impulse! Records debut also
featured Ray Bryant on piano and Mickey Roker on drums.

Fünf legendäre Charlie-Parker-Klassiker in einem luxuriösen LP-Set!

Würde man diese Alben als Original-LPs kaufen wollen, müsste man einen Kredit aufnehmen. Deshalb erscheinen die legendären Charlie-Parker-LPs jetzt als Special Collector’s Edition Box-Set! Fünf der größten (und meist-verkauften) Bebop-Alben aller Zeiten als Neuauflage im Original-10-inch-Format.

Neu gemastert von Alex Abrash bei AA Mastering, 180g- Vinylpressungen, originalgetreue Reproduktionen des Original Artworks von David Stone Martin. Im Schuber befindet sich auch ein 10x10-inch großes Buch mit neuen und exklusiven Linernotes von Ethan Iverson, einem neuen Aufsatz von Autor David Ritz und vollständigen Track-by-Track-Notizen.

Die Alben: „Charlie Parker With Strings“ (1950), “Bird & Diz” (1952), “Plays South Of The Border” (1952), “Charlie Parker With Strings Vol. 2” (1953), „Charlie Parker” (1954)

Der OST der Superhelden-Verfilmung BLACK ADAM von 2022 in der Regie von Jaume Collet-Serra. Der musikalische und philosophische Ansatz des Filmkomponisten Lorne Balfe zu bestand darin, 'dem Publikum die Emotion und Dunkelheit der Hintergrundgeschichte der Hauptfiguren zu vermitteln und gleichzeitig die alten Themen und Vertrautheiten der DC-Comic-Welt zu verknüpfen und eine neue Klasse der Superhelden einzuführen.' Schwarzes 180g Triple-Vinyl.

Harmonica virtuoso Little Walter was a key contributor to bluesman Muddy Waters' music through most of the 1950s. Both as a sideman and bandleader, Little Walter revolutionised the sound of blues harmonica through amplification, clasping a mike to the harp as he played.

His daring instrumental innovations were fresh, startling, and ahead of their time. The Best of Little Walter was his debut LP. First released in 1957, this compilation album contained ten Little Walter songs that appeared in the Top 10 of Billboard's R&B chart from 1952 to 1955, plus two B-sides.

Hurry has grafted the best qualities of ‘90s bubblegum power pop—the pitch-perfect songwriting, the pop-rock sheen, the borderline saccharine vocal melodies—onto something far more raw and emotionally resonant. Don’t Look Back is striking in its tenderness and candor—approximately half of the lyrics on the record concern the deterioration of an 11- year relationship Scottoline was in, with the other half being a celebration of new love. The first words Scottoline sings, in opening track “Didn’t Have to Try,” is essentially a statement of theme: “And we’re back at the beginning / Never thought I’d see a face like that again / It attacks when we’re not ready / And I won’t play it safe this time.” This is pop music about actual feelings which means it’s automatically better than most pop music. It is challenging and addictive.

There is not a single moment on Don’t Look Back that isn’t completely drenched in melody and emotion. “Parallel Haunting” evokes the tuneful ache of golden age Evan Dando; “Little Brain” sounds like golden age Evan Dando and golden age Noel Gallagher. Don’t Look Back is, in a word, bittersweet, with melodies that feel like a jackhammer on your brain’s pleasure center and lyrics that feel like getting slapped in the heart.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year.

Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story.

The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family.

Multiple GRAMMY® Award winners Bruno Mars and Anderson .Paak are releasing their award-winning album An Evening With Silk Sonic on vinyl for the first time on 12th August 2022. The track list includes the hits “Skate”, “Leave The Door Open” and “Smokin Out The Window”. Silk Sonic won International Group of the Year at the 2022 BRIT Awards and are set to open the 2022 GRAMMY Awards. The album entered the UK Album Chart at #9 and remained in the chart for 16 weeks. The focus track on album launch “Smokin Out The Window” peaked at #12 on the UK Singles Chart.

Their debut single “Leave the Door Open,” earned them Best Group at the 2021 BET Awards, entered the UK singles chart at #20 and is now certified Gold in the UK. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 2 billion streams with over 510 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

Re released in the UK after many years and due to huge popular demand on 180g vinyl Hang On Little Tomato – a title inspired by a 1964 ketchup ad in LIFE Magazine, depicting a single tomato clinging to a vine – the result of Pink Martini’s diverse collaborations and inspirations. The celestial anthem ‘Let’s Never Stop Falling in Love" nestles next to a dance sequence from the 1950 Italian film, "Anna". The reworked Japanese track ‘Kikuchiyo to Mohshimasu’, sits happily alongside the Brazilian composer Hector Villa-Lobos’s ‘Song of the Black Swan’ and ‘U Plavu Zoru’, There are torch songs, instrumentals, lyrics of poetic beauty. The mood is playful but never, ever kitsch.

Das Album Bob Marley mit dem Titel ”Africa Unite” ist das Ergebnis von den besten afrikanischen Künstlern, um die größten Hits von Bob Marley neu zu interpretieren. Auf dem Album sind Künstler wie Davido, Rema, Sarkodie, Ayra Starr, Tiwa Savage, Fireboy DML, Oxlade & Tems zu hören, die jeweils einen Klassiker von Bob Marley neu interpretieren. Dieses verbindende Projekt symbolisiert den Einfluss, den Bob Marley auf das moderne Afrika hatte. Africa Unite für die Welt!

Ab dem 04.08 als CD und auf roten und schwarzem Vinyl verfügbar.

Dot Allison returns with a new solo album, Consciousology. After over a decade away, the former One Dove singer and songwriter broke cover in 2021 with Heart-Shaped Scars and this new album follows just two years later, as she hits a purple patch of songwriting. It’s also her first full release for Sonic Cathedral after contributing to Mark Peters’ acclaimed Red Sunset Dreams last year. Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. It expands on the styles and themes of the previous album, all while pushing everything just that little bit further – the songs sound bigger, more avant-garde and experimental and, occasionally, properly out-there and psychedelic. “I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together,” explains Dot. “I see Consciousology a more psych Heart-Shaped Scars with a far fuller, more immersive sound and so, in that sense, it’s a more wayward, bolder, rule-breaking partner.” Right from the eye-catching artwork by PJ Harvey collaborator Maria Mochnacz it definitely does not play it safe. It veers from the techno-played-as-folk of opener ‘Shyness Of Crowns’ and ‘220Hz’ and the Linda Perhacs-meets-The Velvet Underground chug of the first single ‘Unchanged’ to the Mercury Rev-style fantasia of ‘Bleached By The Sun’, the Brian Wilson-esque harmonies of ‘Moon Flowers’ and the kaleidoscopic colour trip of ‘Double Rainbow’. Elsewhere there are echoes of Desertshore-era Nico, Jack Nitzsche’s work with Neil Young, Karen Dalton and Anne Briggs before the relative simplicity of the Tim Hardin-inspired closer ‘Weeping Roses’. It’s a brilliant, breathtaking record.

Now here's a cover album with a few interesting angles to it -
First there is the fact that Matthews Southern Comfort have a, let's call it:
Woodstock history - Well over 6 million spotify streams confirm the
legendary status of Matthews Southern Comfort's global hit
And of course: although this collection is called the Woodstock Album, the song
itself is not featured on this album as it was written post festival and therefor
never performed at Mac Yasgur's farm.
In 2022 MSC were looking for a way to reactivate the band as a viable and touring
unit again. The concept they came up with was a Matthews Southern Comfort reinterpretation of songs that were all performed at the Festival by artists like Joe
Cocker, Creedence Clearwater Revival, Jimi Hendrix, John Sebastian and The
Grateful Dead
The songs very much speak for themselves, as do these new versions with a
distinct Matthews Southern Comfort signature.

The first witnesses to Samuels' new beginnings fittingly became part of
the sound of the album - During her darkest moments, while writing in
isolation, her old friends in the band Bonny Light Horseman offered to
take her out on tour in early 2020
"They re-contextualized music for me all over again," she says. Observing a truly
kind and compassionate music community brought Samuels out of herself even
more. Inspired by conversations with producer Josh Kaufman (The Hold Steady,
Bob Weir, Cassandra Jenkins) on the road, Samuels took him up on his offer to
produce her new songs and retreated to Isokon Studios in Woodstock, NY in the
summer of 2021. They made the album as a duo, with Matt Barick (The Walkmen,
Fleet Foxes) contributing drums on the entirety of the record. The result is a sonic
template that ranges from the soaring and orchestral to the understated and
confessional; at turns free- wheeling and filled with swagger then sincere and
precise, with each subtle movement serving to highlight Samuels' lyrical journeys.

Wildfire was a household name in Tropical Island music circles due to their excellent albums and performances throughout Trinidad, Tobago, the Caribbean & US Virgin Islands and French Guadeloupe. In 1962 they started off as ‘The Sparks’ (a well-respected Calypso outfit who released a bunch of successful singles) but with the release of their hit single ‘Come On Down’ from 1975, they exploded into Wildfire.

Wildfire had a very fruitful career and released four top full-length albums and a vast amount of singles before calling it quits. Led by bandleader Oliver Chapman (bass & guitar player, vocalist, arranger, producer and co-writer for the majority of the bands’ songs) and comprised out of high talented musicians, Wildfire was out there with the big boys in the niche they carved out for themselves.

On the album we are presenting you today (Time Is The Answer from 1980) you’ll find the perfect mix of funk, soul and disco, basically the popular sounds of the day, and all tracks are originals. The album is FUNKY and the production quality can rival with any of their peers and records produced/recorded in the US. The performance of Wildfire on this album is beyond excellent. This release was also the first time the group took control over production and getting their album out in the world. Also included is the hit single ‘Say A Little Prayer For The Children’ which is just one of those songs that will be stuck in your head forever.

Besides virtuoso Oliver Chapman: the talent that was featured on ‘Time Is The Answer’ is exceptional. Anstey Hamilton carries around a rich noticeable tenor voice. Arthur Byron who also did vocals on the album, has a beautiful rasping tone that can knock you out anytime he gets into his act. Fitzroy Isaac on keyboards and Donald Leid on drums are the guys that were responsible for keeping the groove tight. Clifford Wilson like Oliver had been with band since the start. He is calm in his approach, he played the bass guitar and sung background vocals, he also chipped in with Oliver whenever they wrote songs together. Finally we have Cyllan Charles, who was known as the Wildfire voice. Cyllan had been doing most of the lead vocals since he joined the group in 1972, he was the most experienced of all the members, and can really take you to higher heights anytime he gets into doing his thing both on stage and on wax.

“Time is the Answer" by Wildfire is a scarce and increasingly sought-after LP. Filled with hit-bound songs it comes as no surprise that the album has now become a much-wanted item due to its addictive and original-sounding nature. This is a must-have for any self-respecting record digger!

'The Long Stuff' was originally issued in 2002 as a CD-only limited edition of 110 copies for members of 'The Bevis Frond Online Community'. It comprised a select batch of lengthy, previously unissued tracks. Some of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. There was also an unused track recorded for the 1995 album ‘Superseeder’ featuring Ade Shaw on bass and Andy Ward on drums. Since then, ‘The Long Stuff’ has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-releasing it for the first time, and now as a vinyl double album and limited double CD. Due to certain circumstances, one of the original tracks could not be used, so that has been replaced by a different unheard demo called ‘Here’s a Little Love Song’. Also, we have added three further unissued tracks, another home demo called ‘Skyline Commander’, plus a leftover song from the sessions for the recently released ‘Little Eden’ album called ‘Yet Another’. Finally, we felt compelled to add a storming 24 minute live version of the classic track ‘Superseded’ recorded at Cardigan’s Doctor Sardonicus festival in 2019. So, to sum up, the first album of this double set features all bar one of the tracks that were previously on the original ‘Long Stuff’ CD in 2002, while the second album entirely comprises previously unreleased material. The LP will be housed in a full colour sleeve

Ursprünglich im September 2002 zum ersten Mal veröffentlicht, bekommt „Forty Licks“ noch einmal die Aufmerksamkeit, die es verdient: Die Kollektion von 40 der bekanntesten Songs der Stones wird nun zum ersten Mal sowohl digital als auch auf Vinyl veröffentlicht!

Ab dem 26. Juli – Mick’s 80. Geburtstag – kann man im Streaming in das Album reinhören und ab dem 28. Juli findet die 4LP als limitierte 180g Schwarze Vinyl ihren Weg in die The Rolling Stones Sammlung.
Die damalige Veröffentlichung des Albums markierte das 40-jährige Jubiläum der Band und den Start ihrer erfolgreichen „Licks“-Tour. Teil der zweieinhalb Stunden langen Tracklist sind unter anderem Songs wie „Satisfaction“, „Miss You“, „Paint It, Black“, „Get Off Of My Cloud“ und „Angie“. Diese Kollektion sollte also in keiner Fansammlung fehlen!

Acclaimed producer, songwriter, and vocalist Shafiq Husayn has been a vital force on the Los Angeles music scene for decades. A member of trendsetting trio Sa-Ra Creative Partners, Shafiq has produced tracks for a staggering spectrum of talent, including Erykah Badu, Ty Dolla $ign, Pharoahe Monch, Robert Glasper, Ice T, Bilal, Jurassic 5, and many more. Over the last few years, the Grammy winner has also become the leader of The Dove Society, an expansive L.A. musical collective. Now, Shafiq Husayn and The Dove Society are debuting the new album So Gold, an eclectic masterpiece emerging from sessions Shafiq describes as “pure love, magic, inspiration!” A worthy follow-up to Shafiq’s acclaimed 2018 opus The Loop, the album features contributions from Anderson .Paak, Syd (of The Internet), Peyton, Thurz, Jimetta Rose, Speed Walton, and many more. Bursting with the kinetic energy of vibrant creative collaboration, the album synthesizes disparate styles into a cohesive tapestry of lush cosmic soul. “It’s new age everything and above,” Shafiq explains. “Focused and direct in the songwriting and production, but still adventurous and refreshing.

To call Current Affairs a Glasgow band may initially seem misdirection. Though Joan Sweeney (ex-Rose McDowall’s Band, Aggi Doom, The Royal We) is a lifer, Sebastian Ymai (Comidillo Tapes, Pissy, Anxiety) came from Chile via York, recently relocating to Berlin in 2021, and new member Gemma Fleet (The Wharves, Order of the Toad, Dancer) alongside Andrew Milk (Shopping, Pink Pound) were persuaded to leave London for the ‘second city’ after touring through with previous bands. However, Glasgow is the heart and hub of the band’s music, musical life and the place where Off the Tongue was solidified and produced. Their current line up formed in 2020, but the four have been circling each other for years, touring and playing with their previous bands within the close UK network of DIY music. Stalwarts of their respective scenes they finally began working together through the creation of the Spitehouse collective – a project designed to promote Queer and female-fronted music through events mainly held at Transmission Gallery and Glasgow Autonomous Space, putting on many local and international acts (Sneaks, Sacred Paws, Still House Plants and Comfort amongst others). When an opening for a new bassist arrived, Gemma was the obvious compliment, the slogan of Spitehouse being the language of Current Affairs – “Everyone’s welcome, but don’t get it twisted.” Following on from 2019’s singles collection, Object & Subject, the wait for their debut full-length may belie the urgency of its sound. Songs that were written in pieces over a long time and distance, but fully formed in the instant of the recording room across just a few days by producer Ross McGowan at Chime Studio. Current Affairs’ song-writing process has always been collaborative. Songs are developed responsively, with each of the band’s members sending/bringing elements or hooks to each other, but practices being the place where the songs flesh out, structure and are fully realised. These new songs feel a little brighter than their previous offerings, yet still hold true to their propulsive and caterwauling sound. Still embryonic in the most exciting way that that can be. Current Affairs’ music straddles new-wave pop and gothic post-punk in the way that you should expect a Glasgow-Berlin band to do so: with grit and panache. Written from within the world of crumbling services, broken bonds and wounded spirits, Off the Tongue rolls off an ecstatic rage, filled with hope for you, them and everyone else. It’s a rallying cry away from hopelessness, forgiving your fears and laying them to waste. Their album holds a place for you to be angry and to be focussed. In lieu of having anything else, we’ve always got each other, and an uncertain future is open game for us too

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.