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'Beautiful Freak' ist das Debütalbum der amerikanischen Alternative-Rock-Band EELS, die 1995 in Kalifornien von dem Sänger/Songwriter und Multi-Instrumentalisten Mark Oliver Everett gegründet wurde. Das Album enthält u.a. die Hit-Single 'Novocaine for the Soul', mit dem EELS international durchgestartet sind.

Das Role-Playing-Game "Cassette Beasts" liefert einen mitreißenden 80er-Synthie-Rock-trifft-auf-britischen-Indie-Soundtrack, der vom Briten Joel Baylis komponiert wurde und bei dem die Newcomerin Shelby Harvey, den Gesang übernimmt. Der Soundtrack nimmt seine Hörer mit auf die mysteriöse Insel New Wirral und bietet alles: Von Lo-Fi Akustikballaden bis hin zu stadiontauglichen Hymnen. Apropos, willkommen in New Wirral, einer abgeschiedenen Insel, die von mysteriösen Kreaturen bewohnt wird, die man sonst nur aus den Albträumen kennt, die man niemandem wünschen möchte. Die Insel wird aber auch von einem tapferen Völkchen, das Kassetten benutzt, um gegen diese Monster in die Schlacht zu ziehen. Um wieder nach Hause zu finden, gilt es, die Insel bis in die letzte Ecke untersuchen und Monster auf Tape zu bannen, um ihre Eigenschaften zu erlangen! Joel Baylis gibt einen kurzen Einblick in seine Vision hinsichtlich des Soundtracks dem Resultat seiner Arbeit: "Mein Ziel war es, als ich die Musik für Cassette Beasts gemacht habe, etwas zu erschaffen, dass irgendwo zwischen einem Rollenspiel-Soundtrack und einem 80er Synthie-Rock-Album liegt. Ich denke, selbst wenn man diese Einflüsse in Betracht zieht, ist etwas höchst Eigenständiges entstanden. Es fällt schwer, den einen Genre-Stempel aufzudrücken, dafür versammelt die Musik zu viele Stimmungen und Stile." Darüber hinaus könnte die Freude bei Baylis über die Veröffentlichung des Soundtracks auf wunderschönem lila und mintgrünem Vinyl sowie natürlich auch auf limitiertem Tape kaum größer sein: "Die Stücke für den physischen Release wurden mit viel Bedacht ausgewählt und zusammengestellt, so dass alle Aspekte des Soundtracks perfekt in Szene gesetzt werden und das Produkt einfach großartig in jeder Sammlung aussehen sowie unter der Nadel klingen wird." Und da sich bei "Cassette Beasts" alles um die legendären Tonbänder dreht, haben sich Black Screen Records natürlich ebenfalls um eine limitierte Auflage von Tapes gekümmert. Alles bereit für die Monsterjagd! Der "Cassette Beasts"-Soundtrack ist nicht nur für Indie-Gamer ein Muss, sondern auch für Fans von Künstlern wie CHVRCHES oder Liebhaber des 80er Synthie-Sounds.

Das Role-Playing-Game "Cassette Beasts" liefert einen mitreißenden 80er-Synthie-Rock-trifft-auf-britischen-Indie-Soundtrack, der vom Briten Joel Baylis komponiert wurde und bei dem die Newcomerin Shelby Harvey, den Gesang übernimmt. Der Soundtrack nimmt seine Hörer mit auf die mysteriöse Insel New Wirral und bietet alles: Von Lo-Fi Akustikballaden bis hin zu stadiontauglichen Hymnen. Apropos, willkommen in New Wirral, einer abgeschiedenen Insel, die von mysteriösen Kreaturen bewohnt wird, die man sonst nur aus den Albträumen kennt, die man niemandem wünschen möchte. Die Insel wird aber auch von einem tapferen Völkchen, das Kassetten benutzt, um gegen diese Monster in die Schlacht zu ziehen. Um wieder nach Hause zu finden, gilt es, die Insel bis in die letzte Ecke untersuchen und Monster auf Tape zu bannen, um ihre Eigenschaften zu erlangen! Joel Baylis gibt einen kurzen Einblick in seine Vision hinsichtlich des Soundtracks dem Resultat seiner Arbeit: "Mein Ziel war es, als ich die Musik für Cassette Beasts gemacht habe, etwas zu erschaffen, dass irgendwo zwischen einem Rollenspiel-Soundtrack und einem 80er Synthie-Rock-Album liegt. Ich denke, selbst wenn man diese Einflüsse in Betracht zieht, ist etwas höchst Eigenständiges entstanden. Es fällt schwer, den einen Genre-Stempel aufzudrücken, dafür versammelt die Musik zu viele Stimmungen und Stile." Darüber hinaus könnte die Freude bei Baylis über die Veröffentlichung des Soundtracks auf wunderschönem lila und mintgrünem Vinyl sowie natürlich auch auf limitiertem Tape kaum größer sein: "Die Stücke für den physischen Release wurden mit viel Bedacht ausgewählt und zusammengestellt, so dass alle Aspekte des Soundtracks perfekt in Szene gesetzt werden und das Produkt einfach großartig in jeder Sammlung aussehen sowie unter der Nadel klingen wird." Und da sich bei "Cassette Beasts" alles um die legendären Tonbänder dreht, haben sich Black Screen Records natürlich ebenfalls um eine limitierte Auflage von Tapes gekümmert. Alles bereit für die Monsterjagd! Der "Cassette Beasts"-Soundtrack ist nicht nur für Indie-Gamer ein Muss, sondern auch für Fans von Künstlern wie CHVRCHES oder Liebhaber des 80er Synthie-Sounds.

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

Ltd Coloured Vinyl - Indies Only!

Die Punkrock- und Metal-Superhelden MUTOID MAN - bestehend aus CAVE IN-Sänger/Gitarrist Steven Brodsky, CONVERGE-Schlagzeuger Ben Koller und dem neu hinzugekommenen HIGH ON FIRE-Bassisten Jeff Matz - haben ihr neues Album angekündigt: "Mutants", erscheint am 28. Juli via Sargent House! Brodsky und Koller, die eine fast telepathische Chemie besitzen, haben sich schon immer dadurch ausgezeichnet, dass sie ihre eigene, einzigartige Art von rasendem, hyperfokussiertem, dynamischem und exzessivem Griffbrett-versiertem Metal kreieren. Wenn man zwei Musiker nimmt, die in der Hardcore-Welt aufgewachsen sind und schnell die technischen Anforderungen übertrafen, um selbst die anspruchsvolleren Varianten dieses Sounds zu spielen, und sie dann dazu bringt, sich gegenseitig spielerisch in unverschämte und eingängige Gefilde zu drängen, erhält man eine grobe Annäherung an den MUTOID MAN-Sound. Aber mit dem neuen Bassisten Jeff Matz im Schlepptau hat man nun ein Dreiergespann von Prog-Level-Spielern, die sich dem Metal mit punkiger Respektlosigkeit nähern, auf "Mutants", einem Album, das ihre bisher gelungenste und verblüffendste Leistung darstellt. Nach dem Erfolg ihrer Debüt-EP "Helium Head" (2013) legte die Band in den nächsten vier Jahren eine manische Arbeitsmoral an den Tag, brachte die beiden Alben "Bleeder" (2015) und "War Moans" (2017) heraus, tourte unermüdlich durch die USA und Europa und wurde nebenbei so etwas wie eine De-facto-Hausband des angesagten New Yorker Metal-Clubs Saint Vitus. Mit Tourdaten im Vorprogramm von Acts wie MASTODON und DANZIG schien es, als sei MUTOID MANs Eintritt in die Oberliga der Heavy Metal-Helden unvermeidlich. Doch zwischen Besetzungswechseln, einem Exodus aus Brooklyn, einer Reihe anderer musikalischer Projekte und einer Pandemie wurde die Band inmitten ihres Aufstiegs auf Eis gelegt. Aber nach einer sechsjährigen Aufnahmepause sind MUTOID MAN zurück, um mit "Mutants" ihren Thron zurückzuerobern

'Keepsakes', hackedepicciottos 5. Studio-Album, ist nicht nur eine wunderschöne Ode an die Freundschaft, sondern zugleich auch ein Manifest stetig wachsenden Beziehung des in Berlin ansässigen Avantgarde-Duos aus Axel Hacke (Einstürzende Neubauten) und Künstlerin Danielle De Picciotto (nicht zuletzt die Mitbegründerin der Love Parade). Obwohl diese nun schon zwei Dekaden währt, zeigen sie sich in einer goldenen Zeit der Kreativität und Verbundenheit.

I Met You When I Was 18, the debut compilation album from multi-Platinum chart-topping singer, songwriter, producer, and multi-instrumentalist Lauv, celebrates its 5th Anniversary. The album features the global hit “I Like Me Better”, which earned platinum certification in seven countries (5X platinum in the US) and over 1 billion streams on Spotify. The compilation also features other hits including, “Paris In The Rain” and “The Other”.

Portsmouth quartet Hallan release the brand new
EP, ‘The Noise of a Firing Gun’, via Nice Swan
Records (English Teacher, Sports Team, Courting).
 Spearheaded by lead singles ‘Unwomanly Face Of
War’ and the BBC 6 Music playlisted ‘The Colline
Gate’, the group’s record sees them leave the
mundanity of the 21st century behind and turn to
real life events of the past, bringing attention to the
stories of historical individuals, from the vestals of
Ancient Rome to the art scenes of Berlin.
 ‘The Noise of a Firing Gun’ debuts a new direction
in songwriting and composition for the band.
Experimenting with new production elements,
Hallan shift their gaze towards synthesised sounds
of the 1980s whilst retaining their post-punk edge.

Beverly Glenn-Copeland announces his long-awaited new album, The Ones Ahead, due out 28th July via Transgressive and available to preorder here. The Ones Ahead is Glenn-Copeland’s first studio LP in almost 20 years and the first since the extraordinary career renaissance triggered by the rediscovery of his now-classic Keyboard Fantasies album.

Imagine if Eric Carle had been signed to Ghost Box, or if the Look Around You team had ended up taking over the Radiophonic Workshop. If you can picture that kind of sound, we’re ready to welcome you to the Cosmic Neighbourhood.

Cosmic Neighbourhood’s Gatherings is an album made for wild imaginations and deep daydreams. Its fourteen tracks provide the kind of trip you can take if you close your eyes tight enough and let your mind wander. It’s the music of small things, groovy sounds from way underground that’s inspired as much by Martin Rev and Moondog as it is by walking trees, pine cones catching the bus, nocturnal farmyard symphonies and the movements of butterflies reimagined through restless drum machines. Sounds good? Come join the gathering. There’s room for everyone.

Cosmic Neighbourhood is the musical alias of York-based illustrator and musician Adam Higton. Adam’s work encompasses comic strips, collage and sound art and documents the daily goings-on of the forest folk within the realm of the Cosmic Neighbourhood. His two albums on Kit (|Collages I and II) see each song acting as a response to a series of paper-and-scissors compositions. Sonically, these records straddle new and old, taking modular electronics, flutes, bells and softly pattering drum machines, before colouring them all with the amber glow of some forgotten, psychedelic kids' TV programme. Higton's benign toots and echoing jingles bring to mind Daphne Oram's early delay experiments or the meandering playfulness of Tom Cameron. Radiophonic and time-worn, it still somehow sounds like the future.

Gatherings follows previous Cosmic Neighbourhood albums Library Vol 1 and Collages I and II. Previous Rivertones releases include spoken word and found sound collages by Robert Macfarlane & Chris Watson, poetry and elemental music by Will Burns & Hannah Peel and the soundtrack to Wolfgang Buttress’ Hive structure at Kew Gardens by Be.

“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.

Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.

LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.

The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.

Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).

The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.

Waking at Dawn was released in 2016 as a follow-up to Roy's debut EP, Exis. The projectfeatures the hit single, "Gwan Big Up Urself", inspired by his Caribbean roots & brought to lifeby Jamaican producer KRS. Another critically acclaimed single off the project, "How I Feel",shines light on Roy's ability to bend genres and vocal styles effortlessly.


The release brings to life the diverse talents of Roy Woods and his ability to write and singsongs that range in sound. Now his fans can finally listen to it on limited edition red vinyl

Im Frühling 2023 ging Angelo Kelly gemeinsam mit dem Multiinstrumentalisten Matthias Krauss auf „MIXTAPE Tour Vol.3“. Die Resonanz war riesig und die Songauswahl war wieder mal sehr überraschend! Was das MIXTAPE Konzept ausmacht ist, wie die Beiden es schaffen aus Liedern, die man schon kennt, ganz andere Versionen zu schaffen. Die Songs haben alle eine sehr persönliche Note und sind nicht nur anders, um anders zu klingen. „Titanium“ von David Guetta in dieser Form zu hören, macht einem erstmal bewusst, was in so einem Dance Track drinsteckt, „Angels“ von Robbie Williams ist nicht so einfach zu covern, aber bei dieser Version bekommt man direkt Gänsehaut!

Mit „My Hero“ und „Sweet Child Of Mine“ wird die Bühne gerockt! Einen ’Iron Maiden’ Song hätten wohl die wenigsten erwartet, aber die Version von „Wasted Years“ wird bestimmt einige dazu bringen, sich das Original anzuhören. Bei den insgesamt 18 Songs gibt es ein paar Lieder wie „Purple Rain“ und „Who Wants To Live Forever“ wo man zuerst denkt: ‚Das kann man gar nicht covern.’ Es sind aber genau diese Stücke, die einen umhauen und zeigen welche Freiheit sich Angelo Kelly mit seinem MIXTAPE Konzept nimmt. Grossartig! MIXTAPE Live Vol. 3 erscheint als CD in einem schönen Digipack Design. Das Highlight ist aber ganz klar die Vinyl Edition. 2 x Splattered Vinyl in einem Gatefold und dann gibt es ein wunderschönes 8 Seiten großes Booklet mit Tourfotos und persönlichen Geschichten von Angelo zu jedem der Songs.

The Waterboys’ eighth studio album is made available on vinyl for the first time, in ‘Seville’ orange. Originally released in 2003, ‘Universal Hall’ was recorded in the basement studio of the titular hall, a theatre and concert venue in Findhorn, Scotland. It is the most nakedly spiritual of the band's records, all the more so for having been mostly written and entirely made in the spiritual community at Findhorn. At the time of release, band leader Mike Scott described ‘Universal Hall’ as "a record containing eleven spiritual songs that articulate - to the best of my ability - the vision that drives, challenges, sustains and transforms me.” This vision is explored in now-classic Waterboys numbers such as Peace Of Iona, The Christ In You and Universal Hall itself, One track, the celtic-flavoured I've Lived Here Before, was written with Liam O'Maonlai of Hothouse Flowers. The album also saw the return of the band's fiddler Steve Wickham, his first appearance on a Waterboys’ record since ‘Room To Roam’ in 1990. The vinyl format is 180g Orange vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

Prince Daddy & The Hyena’s first full-length record, I Thought You Didn’t Even Like Leaving, is a collection of songs did a solid job building off of the foundation laid by their previously released Adult Summers EP and showcased a band that was onto something special by effortlessly marrying the worlds of pop music and the throaty, anxiety-fueled punk.

After a 9 year hiatus, Jim Lockey & The Solemn Sun return to Xtra Mile Recordings with their brand new album 'Colour' -to be released on 28th July 2022. Available on PINK vinyl, CD and digitally. The 4 piece from Cheltenham, have poured their heart and soul in to this album, the follow up to 2012's album 'Death'. Focused on prominent occurrences in Lockey’s life after ‘Death’ the album discusses the thoughts and feelings he’s most at war with. Dealing with the premature end of a marriage, rediscovering himself as an individual and finding ways through are themes that bubble under the surface throughout; with notions of all punctuating each song Written during the breakdown of the relationship, this album became a method of healing. Like the chaotic process of grieving it’s an agitated reflection that shifts back and forth - from losing everything, rediscovery and finding the resolve to move forward.

'The Devil, The Heart & The Fight' is Skinny Lister's third studio album and is repressed here on yellow vinyl. The band are currently supporting Flogging Molly across the US, have summer festivals confirmed and will be touring across UK and Europe by the end of the year. 'The Devil, The Heart & The Fight' was recorded over five weeks in Newcastle Under Lyme’s Silk Mill Studio in May 2016 with producer Tristan Ivemy (Frank Turner, The Holloways), it is Skinny Lister’s most far-reaching, exciting and accomplished album yet. It’s a full-on rock record that splashes even more punk vigour and eighties pop elements across their fervent folk canvas, taking in hints of Adam Ant and The Clash. It also brings the folk storytelling tradition bang up to date with its brutally honest and close to the knuckle lyrics of real-life stories (‘Geordie Lad’, ‘Charlie’) and on-the-road mayhem, the Pogue-ish ‘Hamburg Drunk’. A mature, vibrant and varied record, it mingles classic Skinny folk romances (‘Grace’, ‘Reunion’) with epic rock takes on rafter-rattling shanties (‘Beat It From The Chest’) and hearty Dexys-style tributes to the fans they meet on the road (‘Fair Winds & Following Seas’), plus a hitherto unseen darker side. Take the deceptively upbeat ‘Injuries’, Dan’s ode on the bruising nature of life, or ‘Devil In Me’, in which Lorna comes on like a particularly melodic Glenn Close in Fatal Attraction. • The Devil, The Heart & The Fight hit the UK Top 40 in the two independent album charts (#38 ‘Breakers’ chart, and #11 Independent Album Chart). • Has received over 2.5million streams on Spotify and the videos have reached over 400K views on YouTube. • Global radio support from 6Music, Radio X in UK Radio Eins, Flux FM, Star FM in Germany and WBSD, WRFL, WYCE, KSJS, WAWL, KPNT, WRIF, KXRN, Indie.FM, WVMO, and WCSF in USA. PRESS QUOTES: “…considerably upped their game.” 4/5 Q Magazine album review “…a deafening and visceral experience.” 5/5 Independent live review from London Garage. "This album has a wholesome kind of dirtiness woven deep into the tapestry of each of the songs." Subba Cultcha "The Devil, The Heart & The Fight’ sees them break their own mould, in places amplifying the popular influences on their sound yet retaining their fundamental roots." Punktastic “(a) kaleidoscope of high octane folk punk via Dexy’s and The Pogues” Louder Than War

* Debut LP from NYC Garage Rockers * Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

'In The Moment That You're Born' features 10 never released songs, and all the lyrics were solely written by the late Shawn Smith, exception made for Stars N’ You, (originally written by Andy Wood of Mother Love Bone and Malfunkshun for the Deep Six Compilation). Barrett Jones plays piano on "Meadow in Autumn", while Hans Teuber plays horns and keys on various other tracks. The album was self-produced by Brad, and recorded and mixed by Floyd Reitsma at Studio Litho in Seattle (except for "In The Moment That You're Born," which was mixed by Josh Evans). The artwork was cured and crafted by Regan Hagar with the addition of pictures taken by Lance Mercer. Brad is: Keith Lowe: Bass, Piano, Keys Shawn Smith: Vocials, Guitars, Keys Stone Gossard: Guitars, Keys Regan Hagar: Drums, Keys

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.

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.

First time on vinyl ever, remastered in 2023. Zeke- Live Tracks Uncensored LP. This LP shows Zeke live ... raw, wild, untamed and uncensored. If you’ve seen Zeke before, you know that these guys can be a total beast on stage. This LP offers a bunch of killer live recordings to make it sound like the band is playing in your kitchen: loud, fast and furious. You know that Zeke are the real purveyors of speed rock and roll and that can’t be better heard than here. The LP includes some of their best songs including tracks from ‘Super Sound Racing’, ‘Flat Tracker’, ‘Kicked in the Teeth’, ‘Dirty Sanchez’ and ‘Death Alley’ recorded in different venues from Seattle to Las Vegas to Minneapolis. One of the other special treats this LP offers is it includes two very rare studio tracks that are pretty hard to find. 26 tracks in all with top notch production. Genre: Alternative / Rock n Roll / Pun

First time on vinyl ever, remastered in 2023. Zeke- Live Tracks Uncensored LP. This LP shows Zeke live ... raw, wild, untamed and uncensored. If you’ve seen Zeke before, you know that these guys can be a total beast on stage. This LP offers a bunch of killer live recordings to make it sound like the band is playing in your kitchen: loud, fast and furious. You know that Zeke are the real purveyors of speed rock and roll and that can’t be better heard than here. The LP includes some of their best songs including tracks from ‘Super Sound Racing’, ‘Flat Tracker’, ‘Kicked in the Teeth’, ‘Dirty Sanchez’ and ‘Death Alley’ recorded in different venues from Seattle to Las Vegas to Minneapolis. One of the other special treats this LP offers is it includes two very rare studio tracks that are pretty hard to find. 26 tracks in all with top notch production. Genre: Alternative / Rock n Roll / Pun

Mission to the Sun synthesizes ambient, post-industrial landscapes with expansive arrangements and haunting vocals. The project consists of Ritual Howls' Christopher Samuels (synths, samples, programming) and Kirill Slavin (vocals). Their sophomore album, Sophia Oscillations, is an immersive journey through the dark corners of post-industrial music. The Detroit based duo continues the sonic exploration started on their debut album Cleansed by Fire, while delving deeper into themes of isolation and lost communication. Christopher Samuels' synths, samples and rhythmic programming is accented by Kirill Slavin's haunting vocal delivery as the listener receives intersperse audio recordings from the outer reaches of inner space.

-15 year anniversary and first time on vinyl with brand new artwork, including previously unseen pieces from the Tame One archive.

-Remixed and remastered audio for a fresh listening experience. -Featuring guest appearances from Sean Price and Del Tha Funky Homosapien - One half of legendary graffiti rap group The Artifacts. -140 gram black vinyl, matte flood jacket with spot uv, 12x12 double sided insert with black poly lined inner sleeves. Rough, rugged and raw. Nothing better describes one's listening experience when they first heard Tame One & Parallel Thoughts, “Ol Jersey Bastard”. It was 15 years ago when Tame One came to "The Paradigm", the recording studio of Freehold's own Parallel Thought. One session turned into two, then quickly turned into three, resulting in a twice-weekly recording ritual that spanned three years. This ritual would give birth not only to this album, but three (Acid Tab Vocab & Parallel Uni-Verses w/ Del Tha Funky Homosapien) instilling a lifelong creative partnership. But let's focus on "Ol Jersey Bastard," Tame One's homage to the almighty and original OL Dirty Bastard. It was not the cleanest record to listen to, but it was true to Tame One's style and vision. He was not constrained by working with a group or having to answer to a label. As a side note, Amalgam Digital, the joke of a label who originally released this album wouldn't let us follow through with our original artwork concept. So the new cover and layout created by close friend Michael Interrante is Tame’s original concept. We also were able to include original scans of unseen artwork, tags & lyrics from Tames archive. This was unfiltered raw hip-hop, showcasing Tame One's unparalleled ability on the mic. Sometimes that called for no hook or maybe a 54 bar verse, traditional song structures were out the window. That being said, coming back to this album all these years later as producers, we wanted to elevate the album's listening experience. We cleaned up the mixes, so you might notice Tame sounds a little clearer, or those beats might knock a bit louder. It was what was needed to further elevate the music while not compromising our and Tame’s vision. Further demonstrating that music is a living, breathing piece of art. Always able to evolve. We hope you enjoy it!

Colloboh (a portmanteau of Collins Oboh) is a Nigerian-born, Los Angeles-based experimental producer and composer who has spent the past several years cultivating genre-spanning modular wizardry. A self-taught synthesist, Colloboh’s DIY recording diaries (still archived on Instagram) quickly amassed a dedicated online following, eventually catching the eye of Leaving Records founder, MatthewDavid, who wasted no time tapping the then-twenty-six-year-old to perform at the monthly Leaving showcase, Listen to Music Outside In The Daylight Under a Tree. In 2021, Colloboh permanently relocated to Los Angeles from Baltimore, dedicating himself to music full-time, and quickly becoming a fixture of the city’s vibrant experimental scene. Whereas Colloboh’s debut EP Entity Relation (released that same year) dove headlong into club beats, Saana Sahel, out May 5th 2023 on Leaving Records, showcases the breadth of the fledgeling composer’s ambitions. The EP’s title, Saana Sahel, refers to a land of Colloboh’s pure imagining—an untouched utopia spanning lush coastlines and sweeping deserts. Beginning with the stately “Acid Sunrise” (like a Phillip Glass rave comedown), the EP functions as an atlas of sorts, mapping the region’s varied environments and moods. And varied indeed—across these six tracks there lie ecstatic jazz freakouts, samba shuffles, guest vocals from (seemingly) the very Seraphim, and interpolations of Debussy and Gabriel Faure. The breadth of sounds conjured here is a testament not only to Colloboh’s eclectic roster of influences, but also the period of deep and challenging personal growth that immediately preceded the EP’s composition. The construction of Saana Sahel (both the imagined locale and the release) served as a spiritual lode star, a place to which Colloboh could retreat for energetic restoration. Ever-generous, Colloboh has charted these expeditions for us in song, and now we may all draw sustenance and inspiration from the wellsprings of this rich land.

On The Deep and the Dirty, Eric Johanson is a roots-rock innovator and
modern-day guitar hero who uses blues as a springboard for an edgier,
broader sound
The Louisiana native teams up with Producer Jesse Dayton (Rob Zombie,
Supersuckers) and a taut power trio, firing twin barrels of sharp songwriting and
fiery fretwork along the way. The album arrives on the heels of four solo records
that all reached the Top 10 on the Billboard blues chart. Johanson fills The Deep
and the Dirty with revelatory anthems about embracing the modern moment and
the raw, honest sounds of a band performing together live. Offering everything
from roadhouse roots-rock to dark, bluesy Americana, it's a diverse album glued
together by a musician who's never been afraid of the grey area between
traditional genres.

it 'Loving You' zollt die mit einem Grammy ausgezeichnete Sängerin, Songwriterin und Multiinstrumentalistin Amanda Shires einer Frau Respekt, die für sie Inspiration und Wegbereiterin war und der sie laut eigener Aussage viel verdankt.

Bobbie Nelsons musikalische Karriere reicht bis in die 1940er Jahre zurück. Als begnadete Pianistin spielte sie in Kirchen, Revival Tents, Konzertsälen und Honky-Tonks und schloss sich schließlich in den frühen 70er Jahren der Family Band ihres Bruders Willie Nelson an. Shires und Nelson taten sich 2021 zusammen, um in den Arlyn Studios in Austin, Texas, Aufnahmen zu machen - eine Einrichtung, die von Nelsons Sohn Freddy Fletcher mitgeleitet und betrieben wird. Das Album 'Loving You' enthält Songs, die Nelson und Shires ihr Leben lang begleitet haben, sowie Nelsons eigenes elegantes Solo-Piano-Titelstück.

Ein Cover-Album der besonderen Art.

Am 28. Juli wird die Britin "UNHEALTHY" herausbringen, ihr dritter Longplayer und Nachfolger des 2021 veröffentlichten "Therapy".

Mit ihrem neuen Album lädt uns Anne-Marie einmal mehr in ihr Leben ein und bietet Einblicke in ihre perfekt imperfekte Welt. Vor einiger Zeit stellte Anne-Marie fest, dass sie sich bereit fühlte, vergangene Beziehungen aufzuarbeiten, die nicht immer harmonisch geendet waren - und damit zugleich zu lernen, positive neue Begegnungen richtig für sich einzuordnen. Die Songs entstanden in dieser Phase und nehmen uns mit auf eine Reise von Zerrissenheit zu Zufriedenheit. Auf "UNHEALTHY" erleben wir eine Anne-Marie, die erhobenen Hauptes dasteht und diese neue Version ihrer selbst zu lieben lernt: kämpferischer, mutiger - und glücklicher als je zuvor.

Anne-Marie blickt Stand heute auf sieben Top-10-Singles (darunter zuletzt "Psycho" (feat. Aitch) und zwei Top-3-Alben im UK, in Deutschland eroberte die Sängerin erstmals 2018 Platz 1 der Single-Charts ("Friends" mit Marshmello). International wurde die Musik von
Anne-Marie bereits sieben Milliarden Mal gestreamt.

Zuletzt tat sich die Künstlerin mit David Guetta und Coi Leray für "Baby Don't Hurt Me" zusammen, das die deutschen Top 20 erreichte.

I Met You When I Was 18, the debut compilation album from multi-Platinum chart-topping singer, songwriter, producer, and multi-instrumentalist Lauv, celebrates its 5th Anniversary. The album features the global hit “I Like Me Better”, which earned platinum certification in seven countries (5X platinum in the US) and over 1 billion streams on Spotify. The compilation also features other hits including, “Paris In The Rain” and “The Other”.

In den frühen 2000er Jahren, mit zwei Alben in ihrer Diskographie, waren PANZERCHRIST auf dem Weg, der größte Name in der dänischen Death Metal-Szene zu werden. Aber sie brauchten ein makelloses viertes Studioalbum, um das zu schaffen und ihren Namen an der Spitze der Nahrungskette zu zementieren. Hier kommt "Room Service"! Aufgenommen in den Antfarm Studios mit Tue Madsen am Mischpult, produzierten die Dänen eine erstaunliche Reihe von Death Metal-Songs, die einer ganz neuen Generation als Einführung in das Genre dienen sollten. Neben dem ultrabrutalen Gesang von Bo Summer (Illdisposed) wurde Rasmus Henriksen (der eigentliche Gitarrist von Illdisposed) rekrutiert, um den Rhythmus für Solist Frederik O'Carroll vorzugeben, während Exmortems ungemein talentierter Schlagzeuger Reno Hilligsø "Killerich" Killerich zusammen mit Bassist und Panzerchrist-Visionär Michael Enevoldsen, alias Panzergeneral, den Takt angab. Nun wird dieser brutale Death Metal-Klassiker erstmals auf Vinyl veröffentlicht, und zwar in wertvollem schwarzem 180-Gramm-Vinyl, limitiert auf 300 Exemplare. Der Sound wurde zudem von Tue Madsen in den Antfarm Studios komplett neu gemastert.

Es gibt nur wenige Bands in der Metal-Szene, die als Pioniere, wahre Wegbereiter und Anführer musikalischer Bewegungen gelten können. Als PANZERCHRIST 1996 mit ihrem Debütalbum "Six Seconds Kill" eine geschwärzte Form des Death Metal in Skandinavien einführten, machten sie sich neben Vader und Bolt Thrower einen Namen unter den Stilpionieren in Europa. Im Laufe der folgenden Jahre hinterließ das dänische Kollektiv ein gutes Dutzend unerbittlicher Alben, die keinen Gegner auf der Strecke ließen und zahllose Truppen in ihre Reihen holten, darunter auch begeisterte Pressevertreter. Leider wurden auch Panzerchrist von Lineup-Schwankungen geplagt, so dass es nach "7th Offensive", das 2013 erschien, ein Jahrzehnt lang still um die Band wurde. Das neue Album "Last Of A Kind", das in den Antfarm Studios aufgenommen und von Tue Madsen produziert
wurde, löst beide Probleme - die Stille im Panzerchrist-Lager und die Lineup-Instabilität - indem es neues Blut mit Erfahrung in der Szene und genug Blutvergießen im Kopf hinzufügt, um ein Album zu machen, das den Namen der Dänen verdient... Und dann noch etwas. Die Wut, die Härte und die Schnelligkeit, die die Seele von Panzerchrist ausmachen, sind hier, unberührt und gekrönt von einem neuen Sinn für Bösartigkeit, verkörpert von Sonja Rosenlund Ahls bösartigen Vocals. Ja, Sir, Panzerchrist sind zurück, aber nicht nur zurück: sie sind zurück mit einer Rache und einer wahnsinnigen Menge an Interessen in Bezug auf die einjährige Schuld, die sie uns schulden!

A masterful funky jazz album by one of the godfathers of acid jazz. Produced by Bob Porter, “Texas Twister” was a continuation of Sparks’ sought-after work at Prestige. The Texas-born guitarist had joined Bob Weinstock’s label at Porter’s request in 1970 after several years working with the likes of Jack McDuff, Lou Donaldson and Reuben Wilson. At Prestige, he recorded three albums as a leader and over a dozen as a session player, showing himself to be a wizard at playing funky licks and energised solos.

When Porter left to set up Eastbound Records in Detroit - as a branch of Westbound Records - Sparks followed, recording "Texas Twister” in 1973 as his label debut. The incredible rhythm section of Idris Muhammad (drums), Sonny Phillips (electric piano), Caesar Frazier (organ) and Wilbur Bascombe (bass) make this album a sure-fire funk bomb. On the front-line, a hard hitting horn section that includes Cecil Bridgewater (tenor sax) and John Faddis (trumpet) are a perfect foil for Sparks. The album includes the monster acid jazz club cut 'Whip! Whop!' and the frenetic 'Texas Twister', as well as a beautiful rendition of the Four Tops’ 'Ain't No Woman (Like The One I Got)’.

After Porter left Eastbound, Sparks recorded the more soul-based “’75” and began to record another album that languished in the vaults for decades. He then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, when he was brought over to Europe to tour as part of the BGP All-Stars. This late revival saw him record five further albums of funky blues-drenched jazz funk.

Ace Records now offer you the first-ever UK reissue of this album, that should take pride of place in anyone’s collection of 70s jazz funk.

Am 28. Juli wird die Britin "UNHEALTHY" herausbringen, ihr dritter Longplayer und Nachfolger des 2021 veröffentlichten "Therapy".

Mit ihrem neuen Album lädt uns Anne-Marie einmal mehr in ihr Leben ein und bietet Einblicke in ihre perfekt imperfekte Welt. Vor einiger Zeit stellte Anne-Marie fest, dass sie sich bereit fühlte, vergangene Beziehungen aufzuarbeiten, die nicht immer harmonisch geendet waren - und damit zugleich zu lernen, positive neue Begegnungen richtig für sich einzuordnen. Die Songs entstanden in dieser Phase und nehmen uns mit auf eine Reise von Zerrissenheit zu Zufriedenheit. Auf "UNHEALTHY" erleben wir eine Anne-Marie, die erhobenen Hauptes dasteht und diese neue Version ihrer selbst zu lieben lernt: kämpferischer, mutiger - und glücklicher als je zuvor.

Anne-Marie blickt Stand heute auf sieben Top-10-Singles (darunter zuletzt "Psycho" (feat. Aitch) und zwei Top-3-Alben im UK, in Deutschland eroberte die Sängerin erstmals 2018 Platz 1 der Single-Charts ("Friends" mit Marshmello). International wurde die Musik von
Anne-Marie bereits sieben Milliarden Mal gestreamt.

Zuletzt tat sich die Künstlerin mit David Guetta und Coi Leray für "Baby Don't Hurt Me" zusammen, das die deutschen Top 20 erreichte.

Besucher:innen des Newport Folk Festivals wurden im vergangenen Sommer Zeugen eines ganz besonderen Momentes: Joni Mitchell kehrte am 24. Juli 2023 nach 20 Jahren auf die Bühne zurück und spielte ein eindringliches Set, das einige ihrer großartigsten Songs
beinhaltete.

Es war das triumphale Bühnen-Comeback der Frau, die nicht wenige für die größte Singer-Songwriterin aller Zeiten halten.

Erhältlich ab 28. Juli als CD-, 2-LP, außerdem gibt es eine Version in durchsichtigem Vinyl im Indie-Handel ++ Produziert von Brandi Carlile und Joni Mitchell (mit Linernotes von Cameron Crowe )

Gym Class Heroes
2005-11 Studioalben werden auf Vinyl neu aufgelegt. LOS ANGELES - Diesen Sommer veröffentlicht Rhino Vinyl-Versionen aller vier Studioalben Gym Class Heroes, die zwischen 2005 und 2011 aufgenommen wurden, sowie McCoys Solodebüt Lazarus. As Cruel as School Children (2006), Lazarus (2010) und The Papercut Chronicles II (2011) werden als Einzel-LPs für jeweils erhältlich sein. The Papercut Chronicles (2005) und The Quilt (2008) werden als Doppel-LPs veröffentlicht. Alle fünf Alben können ab sofort vorbestellt werden.
Für Gym Class Heroes braut sich dieses Jahr etwas zusammen. Die Band wird beim When We Were Young Fest zum ersten Mal seit 2018 wieder auf der Bühne stehen.

"Ich könnte nicht enthusiastischer sein für dieses nächste Kapitel im Buch der Gym Class Heroes. Wenn ihr uns so sehr vermisst habt wie wir euch, dann könnt ihr euch auf eine gute Lektüre freuen, ruhig in der Bibliothek, aber verdammt wild in der Gym Class" - Travie McCoy.

Ced Gee & Kool Keith, both members of the legendary Ultramagnetic MC's, regroup for a new Ultramagnetic MC's record. The resurgence of classic Hip hop moves strong into 2022 with new release from Ultramagnetic MC's "Kool Keith x Ced Gee." Arising from the Boogie Down Bronx in the mid-'80s as a far-flung hip hop trio with a heap of new ideas to try out, Ultramagnetics Kool Keith, Ced Gee, and DJ Moe Love occupy something of a singular place in the old-school pantheon. Combining funk-heavy tracks with jeep-rocking beats and obscure lyrical references, Ultramagnetic MCs have a list of firsts to their credit: the first rap group to employ a sampler as an instrument, the first to feature extensive use of live instrumentation, the first to feature a former psychiatric patient (Kool Keith) on the mic. Early singles like "Something Else" and "Space Groove" were block-party staples and created waves in the underground, eventually landing the group on the disco-dominated Next Plateau label, where they released their underappreciated debut. The following years found the group shuffling from label to label, releasing albums on Mercury and Wild Pitch before splitting to pursue various projects. This special event will feature Kool Keith and Ced Gee performing classic Ultramagnetic MCs songs and sharing stories and history about the making of their iconoclastic catalogue.

First impressions matter. Especially on a debut album. Time and attention-strapped listeners size up an artist within a song or two, then move on or delve in further. Fortunately, it only takes Margo Price about twenty-eight seconds to convince you that you’re hearing the arrival of a singular new talent. “Hands of Time,” the opener on Midwest Farmer’s Daughter, is an invitation, a mission statement and a starkly poetic summary of the 32-year old singer’s life, all in one knockout, self-penned punch. Easing in over a groove of sidestick, bass and atmospheric guitar, Price sings, “When I rolled out of town on the unpaved road, I was fifty-seven dollars from bein’ broke . . .” It has the feel of the first line of a great novel or opening scene in a classic film. There’s an expectancy, a brewing excitement. And as the song builds, strings rising around her, Price recalls hardships and heartaches – the loss of her family’s farm, the death of her child, problems with men and the bottle. There is no self-pity or over-emoting. Her voice has that alluring mix of vulnerability and resilience that was once the province of Loretta and Dolly. It is a tour-de-force performance that is vivid, deeply moving and all true. From the honky tonk comeuppance of “About To Find Out,” to the rockabilly-charged “This Town Gets Around” to the weekend twang of “Hurtin’ (On The Bottle)”, Price adds fresh twists to classic Nashville country, with a sound that could’ve made hits in any decade. Meanwhile, the hard-hitting blues grooves of “Four Years of Chances” and “Tennessee Song” push the boundaries further west to Memphis (the album was recorded at the legendary Sun Studio). • Hometown: Nashville • Recorded at Sun Studios

Originally released on Island Records in September 1998, the soundtrack to the box-office smash film, written and directed by Guy Ritchie, quickly became a must-own album, and is frequently cited as one of the best movie soundtracks of all time.

Lock, Stock and Two Smoking Barrels redefined the British gangster film and established Guy Ritchie as one of the greatest directing and writing talents of his generation. Using a frenetic mixture of filmic styles, humour, violence, breakdown of the fourth wall, narration, and vast amounts of swearing, it is hard to imagine a time when this film and its influence was not around. It made a star of the-then unknown Jason Statham, and, amazingly, hard man footballer Vinnie Jones, who as Big Chris, had several scene-stealing moments. Taking his cue from Quentin Tarantino, who had been meticulously curating his film soundtracks since the early 90s, Ritchie made the music to his film tell its own story, complete with memorable snatches of dialogue between many of the tracks.

It offers a beautifully eclectic selection of songs from the preceding three decades, plus then-current artists providing some of their best material, such as Hundred Mile High City by Ocean Colour Scene or E-Z Rollers' drum'n'bass masterpiece Walk This Land. Of the heritage tracks, Dusty Springfield sings her sultry take on Spooky; James Brown appears twice with The Boss and The Payback; The Stooges with I Wanna Be Your Dog, and two versions of Pete Wingfield's masterful one-hit-wonder 18 With A Bullet; in its 1975 original and a contemporary cover by Lewis Taylor and Carleen Anderson. And this is only half of it.