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Enter COMPASSA! Finally Tom Trago & Charles Levine formally known as The Compass Joint arrived at a new identity that pays homage to their shared musical influences and dedication to compassion, mindfulness, life and music.

At this moment they proudly present The Compass Choice EP, a sonic foundation representing another taste of their range and capabilities with this collaborative project. This latest release dives deeper into a love of FM synthesis and a dance floor interpretation of these mixed up electro-Caribbean-techno-futuristic flavors!

These songs, rhythms and melodies are born out of a pureness of heart and designed to bring positivity, joy and a little Compassa magic to you!

180 GRAM AUDIOPHILE VINYL
INCLUDES INSERT WITH LINER NOTES
INCLUDES CHRISTMAS POSTCARD
FEATURING 4 EXTRA SONGS “CHRISTMAS (BABY PLEASE COME HOME)”, “SLEIGH RIDE”,
“JINGLE BELL ROCK”, AND “FROSTY THE SNOWMAN”

WITH GUEST PERFORMANCES BY OLIVIA NEWTON-JOHN AND GURRUMUL
PEAKED #2 ON THE AUSTRALIAN ALBUMS CHART
FOR THE FIRST TIME AVAILABLE AS A 2LP-SET
LIMITED DELUXE EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON SNOWY WHITE MARBLED VINYL

Twentysomething Dwight Yoakam was literally the new kid in country music when he stepped onto the Austin City Limits stage in October 1988. But even then, as he has ever since, he was doing things his own way. Dwight was born in a small Kentucky town and grew up listening to mountain and bluegrass music, and unlike most of the mainstream country-pop crooners of the eighties, he almost single-handedly revived the rockabilly / honky tonk / hillbilly sound that was one of the cornerstones of country music’s formative years. Early on he discovered the fabled “Bakersfield” sound of the 60’s and adopted it as his own, in the tradition of country legends Merle Haggard and Buck Owens. Buck, in fact, became his hero and friend. When Dwight was playing a fair in Bakersfield, he stopped by Buck’s office and coaxed him into playing a few songs with him onstage that night. The result was a lasting friendship and their historic duet, “Streets Of Bakersfield.” Much like his heroes, Dwight has been true to his roots and breaking new ground for almost 20 years. - Terry Lickona (Producer Austin City Limits)

LP - 180 Gram Vinyl The Winter Wonderland LP is a laid-back collection of 14 evergreen Christmas classics for the perfect holiday. Featuring Dean Martin, Eartha Kitt, Bing Crosby and many more.

LP - 180 Gram Vinyl The Winter Wonderland LP is a laid-back collection of 14 evergreen Christmas classics for the perfect holiday. Featuring Dean Martin, Eartha Kitt, Bing Crosby and many more.

Zum 30-jährigem Jubiläum erweiterte Neuauflage des nächsten Klassikers der Lemonheads aus dem Jahr 1993, inklusive neuem Cover-Artwork. Die bahnbrechende Platte, die auf It's A Shame About Ray und "Mrs. Robinson" folgte, den amerikanischen Alt-Rock weltweit bekannt machte und Evan Dando in die Herzen einer ganzen Generation katapultierte. Mit einer Fülle von unveröffentlichten Demos, alternativen Versionen und Raritäten - darunter Coverversionen von Victoria Williams, Buddy Holly und den Flying Burrito Brothers sowie The Lemonheads' Interpretation des Cole Porter-Standards "Miss Otis Regrets". In den 90er Jahren produzierten Evan's Lemonheads einen Alternative-Hit nach dem anderen, eine Reihe von wirklich guten Singles: 'Big Gay Heart', 'Into Your Arms', 'It's About Time' und 'The Great Big NO'. Pures Genie, das über's Radio ging und die Indie-Herzen eroberte. Heute ist Evan immer noch ein Meister des Songwritings und 'Come On Feel The Lemonheads' klingt nebenbei noch so frisch wie eh und je. Inmitten der Hits der Originalplatte findet sich aber für noch mehr magische Musik, und diese Deluxe-Edition fügt nun eine zweite Disc mit Demos und Akustikversionen hinzu, sowie eine Vielzahl von Tracks aus Sessions und von Compilations, die dem Mythos und seiner Entstehung weitere Farbe verleihen. So covert die Band liebevoll Victoria Williams' "Frying Pan" von ihrem "Sweet Relief"-Album. Dazu gesellen sich eine Reihe von Flipsides und Out-Takes, wie ihre Version des Garagen-Punk-Knüllers "Little Black Egg" von The Nightcrawlers, Evans Hommage an Gram Parsons "Streets Of Baltimore" und Buddy Hollys melancholisches "Learning The Game". Evan erkennt einen guten Song, wenn er ihn hört, und wie 'Come On Feel The Lemonheads' beweist, kann er auch selbst gar keine schlechten schreiben. Unabhängig davon, dass der Vorgänger ,It's A Shame About Ray" als der Klassiker der LEMONHEADS dargestellt wird, hat der Nachfolger ... seine ganz eigene Geschichte. Erneut gab Juliana Hatfield mit den Ton an, ... auch wenn auf diesem Album Nic Dalton hauptsächlich den Bass einspielte. Es geht insgesamt ruhiger zur Sache, orientiert man sich nur an den Singleauskopplungen ,Into your arms", ,The great big no", ,It's about time" oder ,Big gay heart"." - OX 2015 "Dabei hat Evan Dando seine musikalische Palette wieder erweitert: Neben reinen Country-Songs mit Slide-Gitarre und den poppigen Parts, blitzen plötzlich doch wieder nach vorne treibende punkige Tracks auf. Und diese Mischung passt so gut, dass selbst Pop-Göttin Belinda Carlisle (!) mal singen und auch Punk-Ikone Rick James seinen Part beisteuern darf." - Visions 1993

A Flor de Piel, the new album from singer-songwriter and composer Maria Monica Gutierrez (aka Montañera), is a meditative journey of self-discovery across oceans, time, and the traditional confines of genre. Originally from Bogota, Colombia, Gutierrez began the album as a way to explore her identity after a difficult move to London left her feeling untethered in a strange new place. The result is an examination of the immigrant's experience through a rich sonic lens of ambient pop textures, inspired by sources as disparate as Colombian traditional music, traditional Senegalese music, and whalesong from the depths of the Atlantic. The album begins with the title track "A Flor de Piel," Gutierrez's indelible vocals floating above a vast expanse before being joined by deep, silky bass and the plucks of a koto-like stringed instrument. "The song was inspired by traditional Japanese music," Gutierrez explains, "It's about making my heart a little lighter; I know that inside of me I can be as light as mist in heat, I can be fragile as the song of a sparrow." That sentiment perfectly encapsulates much of what makes A Flor de Piel so special. The album comes with a message of healing for all people, without forgetting the centuries of struggle and hurt that form the bedrock of modern society. The track "Santa Mar," for instance, is inspired by the musical traditions of afro-pacific women in Colombia, and the crucial role that they play as peacebuilders in the region. Backed by a hypnotic beat, the song features contributions from marimba player Cankita, alongside Las Cantadoras de Yerba Buena, an all-female vocal group that utilizes traditional Afro-Colombian music to preserve their history and promote peace. Standout track "Como Una Rama" is a futuristic take on bullerengue, a traditional style of music and dance originally developed by Maroon communities on Colombia's Caribbean coast. Deeply affecting, the song combines Gutierrez's indomitable voice with electronics that recall Steve Reich's rhythmic minimalism. "Cruzar," the final track on the album, feels almost like a lullaby, with a meditative harmonic style and trance-like vocal melody. "The lyrics," Gutierrez explains, "are a personal reminder of what is important to me: healing, letting go, breathing, evaporating, forgetting, changing, crystallizing." Across the 40-odd minutes of A Flor de Piel, Gutierrez triumphs at recontextualizing traditional sounds and sentiments into a modern form using synth-based and electronic textures. It's a fitting representation for the personal struggles that the artist endured during her move to London. Rather than dwelling solely on the past Guitierrez uses A Flor de Piel to summon the strength of past generations, and forge a new path forward. As she describes it, "The album has accompanied me through inner journeys of finding myself in a new territory _ of redefining myself, of remembering who I am _ in a strange place." As we drift towards an increasingly frightening and uncertain future, perhaps Montañera's A Flor de Piel is exactly what we need: something to give us strength, to bring us peace, and to accompany our journey into a strange new place.

tom Ravenscroft at 6music amongst others. And now, in true AMO1 creative fashion they are presenting an off-shoot release of that album, one completely reimagined by the man, the myth: Ricardo Villalobos.
Much has been written and talked about when it comes to producer/DJ Ricardo Villalobos over the years.
The mercurial Chilean-German artist has consistently redefined the boundaries of techno and electronica over the past 30-years as a producer, whilst also traversing the world and expanding minds as a DJ who can equally delight as he does challenge.Like a great jazz drummer (he was a percussionist before discovering mixing records), Villalobos has not so much as broken “the rules” of structure as just created his own unique approach. One that is often surprising, ever open-minded, and clearly lead by whatever happens to be inspiring him at any given moment. Watching him work or hearing him play music always feels live and free. He’s an artist. And that is exactly how this (perhaps unlikely) collaborative album has come to light – but then this is Ricardo, so maybe we should all know by now that anything is possible.
Villalobos explains, “In my scientific search for some electroacoustic musical landscapes, the offer of remixing ‘Black Apple Pink Apple’ was just perfect for me… In general, the song writing is so very good and particular, with all the instruments played into a sequencer, so it was very inspiring to strip down these pop songs into my dubby extensions, taking only the drums, bass, and vocals of the song.” Expanding further, “After delivering the first remix, Mo and myself came up with the idea of reimagining the whole album in a new way, mixed simple with other ears and my inspirations, with a new and different point of view of what instruments are important to hold the song to bare itself.”
It says a lot, and somehow captures the essence of Ricardo’s approach to music (and life), that one remix soon evolved into a whole plethora of reimagined works, driven by a creative slipstream and a clear connection to the songs created by A Mountain of One.
Mo Morris provides more insight into his own connection with Villalobos, “I lived in Berlin back in 2002-04 and used to religiously go to dance to Rici at the after (after) hours parties: little, tiny events. And he just used to blow my mind, I hadn’t heard anything like it before (or since). Ultra-modern and forward thinking.”
Mo continues, “A good friend connected to Ibiza happenings introduced me to Ricardo as it transpired that he was a fan of our early material, so I sent him some demo’s when we were in the studio creating ‘Stars Planets Dust Me’ and he loved ‘Black Apple Pink Apple’. The relationship and collaboration grew from there really, and I hope that this release is still at the start of what we can all create together.”
Focussing in on the album at hand – ‘Ricardo Villalobos reimagines: Stars Planets Dust Me’ – we are treated to a concept listen that guides us from dreamy daytime Balearic pop – staying very true to the original songs – all the way through to completely original deep dubby techno excursions. And to Villalobos fans, it will perhaps surprise (and hopefully delight) how light a touch he has provided to the opening tracks, focussing more on enhancing the sonics, and allowing the originals to shine brighter through remastering and mixing down. It’s in these moments that we see Ricardo as a pure music fan, needing not overly change or alter what’s already been created, but simply doing what he can to maximise what’s already there.
What will certainly delight Ricardo fans are the four full ‘klub’ remixes provided of ‘Black Apple Pink Apple’, ‘Make My Love Grow’, ‘Softlanding’ and ‘Dealer’ that each boldly explore the outer regions of the dancefloor in a way that only Villalobos can.
Mo rounds off, “From an electronic and sonics standpoint he’s kind of out there on his own. It’s such a unique sound. Weatherall also had this, and Harvey has that unique flavour, and also people like Nils Frahm and Max Richter have this gift. It’s not an easy thing to produce. Ricardo has his own personal cosmic trademark.”
Indeed he does. Take a trip with him around the stars and planets and see for yourself.

A national musical treasure" The Guardian // Steven Adams, formerly of The Broken Family Band releases new album DROPS on Fika Recordings in November 2023. Since calling time on TBFB at the height of their success, Adams has released half a dozen albums under various names (Singing Adams, Steven James Adams, Steven Adams & The French Drops), his witty, incisive lyrics and melodic sensibilities taking in DIY indie rock, folky introspection, and off-kilter pop hooks. Originally from South Wales, Adams now lives in East London. “Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things". “…astonishing tenderness in its simplicity … brilliant lyrics.” Q Magazine //“…the tunes are instant and uplifting, but the real wallop comes from the lyrical imagery.” The Guardian // “…barbed modern life chronicles.”

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

JD McPherson presents A Christmas Album, SOCKS. Featuring 11 original tracks written by JD McPherson and his friends. SOCKS is an album of Holidays songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , "All The Gifts I Need" and "Every Single Christmas." Or, burn the cookies to "SOCKS" and "Ugly Christmas Sweater." There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, "Bah Humbug".

Frozen reeds presents the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian – two longstanding pioneers of distinct strains of improvised music – came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen’s JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians.

The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert.

“This is one of those moments that we’re always hoping for, and it's so rare. And it's so hard to talk about, because it's so beautiful. It's like you're seeing some new species of plant that you never knew existed or something.” – Bill Frisell

Each player bringing decades of crucial experience to their encounters – with histories taking in vast swathes of the development of jazz and free improvisation – these fleeting shared moments provide some of the most riveting playing in the career of either.

There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian’s palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. The covert influence of the drummer’s work on the post-rock genre (just taking its first nascent steps in the early 1990s) is made overt here.

In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian’s rhythmic and textural transitions as to beggar belief. The guitarist’s duos with percussionists (Jamie Muir, Han Bennink, John Stevens…) arguably provide some of the highlights of his discography. ‘Duo in Concert’ represents a strong addition to the list.

An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.

Two and a half decades into a career that's never delivered the stardom forecast by legions of champions, John Hiatt has settled into a niche that's about as comfortable as a maturing singer-songwriter could ask for. No longer a major-label priority, Hiatt has hooked up with the stalwart folk label Vanguard for his 15th release. Crossing Muddy Waters adroitly captures Hiatt's comfort and confidence. Not so much blues as blusey, Crossing Muddy Waters features 11 new Hiatt compositions, half of which feel instantly familiar. The rambunctious "Lift Up Every Stone" sounds a little like some of Tom Waits's more accessible recent efforts, while "Take It Down" is a love-lost lament that's as heavy as a foggy evening. Crossing Muddy Waters was cut in three days and features only two accompanists--the uncommonly sympathetic Davey Faragher and David Immerglück. Just goes to show that Hiatt moves just fine when he's not dragging a lot of added weight and heavy expectations behind him.

These songs came to be a record accidentally and unintentionally. They were written sporadically over a tumultuous two years riddled with more valleys than mountaintops. We considered it a victory when we could actually make ourselves get together to write, even if we struggled to produce anything of any quality. Creativity was tough amidst half-hearted business relationships, being dropped from our label, inconsistent touring, and filing personal bankruptcy. It took a toll on everything: our confidence, our outlook, our health, our happiness. In late 2015, our friend Brandi Carlile invited us to Seattle to play a couple of shows in her hometown. It was there that we explained all that had transpired with our career, how we were barely staying afloat. It was also there that she told us she would be producing our next record. Once we saw that this fantasy could actually become a reality, the frantic search for enough songs to make an album began. To our surprise, we had many things to say, and though some were difficult to write and slow to reveal themselves, we pushed onward. The songs here carry a common thread of what remained when we felt like we’d lost everything. It was in the hardest times that we saw the core of where our music and our souls originate. We still had our homes, our family, our friends, and our fans. This is not a record about rising from the ashes. Rather, it is a deep look into ourselves in an attempt to put out the flames. These songs are our catharsis; an effort to forgive, an effort to heal, an effort to look back into the darkness with newfound light and undeterred fearlessness, an effort to redeem ourselves. The damage was done, but our hearts remained.

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

The sophomore album from NYC musician and singer-songwriter Kyle Avallone, is a collection of nostalgic meditations that take you out of the smoky bar and into the gray daylight of a seaside town. It is a cinematic dreamscape steeped in warm vocals, lush synthesizers, and sweeping steel guitars. Throughout the ten songs, tender narratives play like home movies on a living room wall, revealing little worlds and distilled memories.
Recorded at Studio G in Brooklyn with Jeff Berner (Psychic TV), Avallone reaches beyond the lo-fi sleaze of his 2020 debut, Last Minute Man, for a higher fidelity and grander sound palette. “After making a record by myself on an old four-track tape machine, it felt like a natural progression to go into a proper studio and play music with my friends". The core band consists of Mark Perro (The Men) on keys and Russell Hymowitz on bass, who both sing backing vocals, along with David Christian on drums. On several tunes, pedal steel played by Jon “Catfish” DeLorme (The Nude Party) dances around Avallone’s baritone voice, delivering a twang that is distinctively more New York than Nashville.
Inspired by the conversational storytelling of artists like Terry Allen and Lou Reed, Avallone was moved to capture the drama and mystery of his own life experiences. The characters we meet here are flawed. Mistakes are made and lies are told. Love is either lost or on the line. Dreams manifold as both echoes of the past and hopes for the future – the faded glow of childhood impressions in “Down the Hill”; the single mothers’ kitchen table reverie in “Going to the Beach”; the lament for summer’s end in “Vacant Sea”.

Walt Disney Animation Studios’ “Wish” is an all-new musical-comedy welcoming audiences to the magical kingdom of Rosas, where Asha, a sharp-witted idealist, makes a wish so powerful that it is answered by a cosmic force—a little ball of boundless energy called Star. Together, Asha and Star confront a most formidable foe—the ruler of Rosas, King Magnifico—to save her community and prove that when the will of one courageous human connects with the magic of the stars, wondrous things can happen. Featuring original songs by Grammy®-nominated singer/songwriter Julia Michaels and Gramm winning producer/songwriter/musician Benjamin Rice.

The Blips self titled debut, 'The Blips', struck lightning when Little Steven's Underground Garage declared "Inside Out" The Coolest Song In The World in the spring of 2021. And here we are with The Blips, 'Again'. Back with more boogie, beast and beauty

This band swaggers like The Stones, Haggards like Merle, and snots like Mike Ness. 'Again' carries you on a not-too-long trip through a varied landscape of far out, well made and dusty rock songs that stick to your black boots and go with you when you go. While there are four different lead singers and writers throughout this album, it is apparent 'Again' is executed by a band, rather than disparate musicians playing along on a track in a cold studio. A band that sweats. The Blips haven't "grown" or "matured" with their "sophomore effort" --These ideas don't apply to the Blips. The band is wholly made up of veteran front men of some of the most revered bands of the Birmingham rock scene. Making records is what all of these guys do on the regular. Once upon a time, The Blips came together, rose above, braved the elements, forced the issue, carried the weight and dealt with the demons that require the making of a record. And now they have done it . . . 'Again'.

Am 05. Mai 2023 veröffentlichen HIGH SOUTH mit FEEL THIS GOOD sinnigerweise ihr inzwischen fünftes Studioalbum. FEEL THIS GOOD ist ein Album, das von einschneidenden Veränderungen geprägt ist. Dass FEEL THIS GOOD dennoch eine ausgesprochen positive Platte geworden ist, ist einmal mehr der Grundhaltung der beiden HIGH SOUTH Masterminds JAMEY GARNER & KEVIN CAMPOS geschuldet, die sich durch Nichts und Niemandem unterkriegen und von ihrem Weg abbringen lassen - mit ihrer Musik den Gedanken von PEACE, LOVE & HARMONY in der Welt zu verbreiten! IKonzerte weg, Einkommen weg, Produzent weg, Bandmitglied weg - übrig bleiben die beiden Bandgründer inmitten der Scherben ihres musikalischen Traums. Als sich Kevin schlussendlich auch noch aus dem gemeinsamen Wohnort Nashville, dem vermeintlich musikalischen Epizentrum der Country & Americana Welt Richtung Europa verabschiedet, um sich fortan der Liebe wegen in Österreich niederzulassen, scheint die Zukunft der Band für kurze Zeit mehr als ungewiss. Neuorientierung auf allen Ebenen ist angesagt, welche schließlich auch Jamey das kalte Wetter Tennessees gegen die Sonne Floridas eintauschen lässt. In der entspannten Umgebung des Surfer-Hotspots New Smyrna Beach, Fl kann Jamey wieder neue Kraft schöpfen. Das Surferparadies fand entsprechend passend auch in der Album-Artwork durch die wunderschönen Bilder des dort ansässigen Fotokünstlers Dan Mongosa Ausdruck. Spätestens nach der in 2022 nachgeholten PEACE, LOVE & HARMONY TOUR, als den beiden Musikern jeden Abend eine unglaubliche Woge an Begeisterung und Freude ihrer treuen Fangemeinde entgegenschlägt, ist jeder Zweifel einer Fortführung des Projekts ausgeräumt und man macht sich an den Plan ein neues Album aufzunehmen. Das Album wird in Eigenregie produziert, back to the roots, und ist deutlich rauer, ungeschliffener und auf den Kern und die Quintessenz ihrer Musik konzentriert - zurück zu den Wurzeln eines reduzierten erdigen, authentischen Americana Sounds, der durch die unnachahmlichen HIGH SOUTH Harmony Vocal Chöre verfeinert bzw. zur Perfektion geführt wird. Das Ergebnis der Sessions ist pure hörbare Lebensfreude und Positivität, die bei Fans des Genres Gänsehautmomente folgen lassen, und dadurch FEEL THIS GOOD musikalisch und inhaltlich seinem Namen in jederlei Hinsicht gerecht werden lassen und von der Band mit Fug und Recht als die bisher stärkste und authentischste Platte wahrgenommen wird. Genre: CLASSIC ROCK / AMERICANA / COUNTRY ROCK