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Featuring Andre Innes, Martin Duffy & Darren Mooney of Primal Scream. “In 2018 after a particularly messy session involving Pacharan, a Spanish version of Pernod, the name and then there were four was bandied around as my fellow travellers fell by the wayside, sounded like a Spaghetti western…and the idea was hatched. We began recording in Artesonao studios in Malaga, myself and Ed Chapman, a renowned English artist, we were ably assisted by Rachel Hewitt on violin we recorded a dozen or so tunes in a week. We recruited the services of Darrin Mooney and Martin Duffy of Primal Scream on drums and keys, Andrew Innes of Primal Scream assisted on additional guitars, celeste and bells…lots of bells. Robert McGovern came out to Malaga to play on a few tracks also. We had the voice of Justine Petty – Burrows a Canadian chanteuse to be a foil to my less than acrobatic voice. The record was a return to my favourite music of my youth, soaking up Dylan, Scott Walker, Tim Buckley, Tim Rose, Tim Hardin and the soundtracks of Morricone, like an old compilation tape from 1986” – Sheer Taft 2022 Tracklist Side One 1.And then there were four 2.Everybody's been somebody's fool 3.Gypsy river 4.After midnight 5.The sun is ours 6.Mezcal dream 7.Four ride out Side Two 1.Enemigo de todos 2.Alegria 3.Chasing down a dream 4.The ghost 5.Time 6.Requiem for Pablo 7.(There goes) A friend of mine

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Formed in Louisville, KY in 1991, Falling Forward was a band made up of childhood friends Benjamin Clark, Gary Bell, Jonathan Mobley, Ben Lord, and Chris Higdon. Started in their early teens, the band released a handful of recordings on a few different labels (Noble Recordings, Initial Records, and Doghouse Records) before disbanding in 1995. Higdon, Mobley, and Lord would immediately regroup as the renowned atmospheric post-hardcore band, Elliott. Falling Forward's first 7" was originally released as the first (and only) title on local Louisville imprint, Noble Recordings, in a scarcely limited edition of 500. Shortly thereafter, they signed to rising Detroit-turned-Louisville label, Initial Records, for their lone full-length album, Hand Me Down. Founding member Benjamin Clark then left, replaced by Endpoint's Pat McClimans. In 1995, as their popularity and influence were peaking across the United States, Falling Forward released two final singles: an acoustic split 7" with fellow Louisvillians, Metroschifter; and a self-titled 7" EP on the prolific Midwestern indie label, Doghouse Records. All of those releases are long out-of-print, and Falling Forward's entire catalog has remained unavailable in any format for over 20 years. Let These Days Pass: The Complete Anthology 1991-1995 documents the entire recorded history of a young band who met in their pre-teens, wore their hearts on their collective sleeves, and incidentally inspired and influenced thousands of kids and dozens of bands (most notably Thursday) across the world with their unique union of chunky, metallic riffs, pop-punk-inspired hooks, and startlingly infectious, Sunny Day Real Estate-inspired melodicism. Restored and remastered from the original master tapes by Alan Douches at West West Side Music (The Promise Ring, Converge), Let These Days Pass is packaged in all-new artwork culled from elements of the band's history, and includes a 20-page full-color booklet of rare and unpublished photos, fliers, and lyrics.

In Western thought and culture, voice without speech is viewed as irrational and dangerous. Across myth and history, these voices must be contained or prohibited due to the threat they pose on social order. Female, animal, artificial and inanimate, lamenting, screaming, dreaming, mumbling. Fugitive voices, entangled in a parallel ‘nonhuman history’ coming together to create a chorus. Future Chorus is based on a collection of readings, spoken word, nonlinguistic sound, poetry, MCing, and animal sound, combined with machine learning processes to generate a genderless voice speaking a nonhuman language. The vocal database and AI voice became the raw material for five remixes by AGF, Chino Amobi, Harrga, Savvas Metaxas, Trustfall and Lafawndah. The project was conceived and curated by writer, theorist and practitioner Eleni Ikoniadou, a Senior Tutor at the Royal College of Art and member of the art collective AUDINT. The album is released by Hypermedium in collaboration with MAENADS — Anne Duffau, Eleni Ikoniadou, Aphroditi Psarra — a platform for collaborative art projects, musical, visual, performative or text based, releasing work that seeks to inhabit polyvocal narratives, group joy, alternative worlds or subjectivities, spontaneous collective ruptures.

Following the success of his 2022 mod-club, soul-jazz adventure with Mick Talbot, on 27 January Acid Jazz Records will release Chris Bangs' compendium of dance-floor fillers and Latin dynamite. Chris, who coined the term 'acid jazz', has created a new solo album of 10 tracks that takes his unique spin on jazz DJ-ing and turned it to producing an album that is totally reminiscent of the classic '80s era on the UK dance scene.

Recent single 'Firebird' (Jazz FM's Breakfast show 'track of the week') encompasses a lifetime of Chris's musical influences to present a jazz-tastic smorgasbord of bossa, fusion, bop jazz funk, salsa and a myriad selection of other jazz stylings all delivered with his trademark ear for the grooves and melodies to go with it. Paying tribute to his roots, 'East Coast' is the distinctive sound of jazz-funk fusion which spread through UK clubs in the early '80s, whereas 'Dinamita's heavy duty percussion-led Montuno Salsa groove tips its hat to the sound of '70s NYC via Puerto Rico.



Elsewhere the album features a tough Batucada rework of Dom Um Romao's 'Kitchen (Cosina)', the bossa of Cal Tjader's 'Samba Do Sueno', Brazilian disco funk-jazz 'Sambara' via the epic samba fusion 'Lifetimes'. Firebird features an array of in-demand and exceptional musicians, including jazz guitarist Nigel Price (Van Morrison, David Axelrod, JTQ), supreme jazz piano stylist Janette Mason (Seal, KD Lang, Robert Wyatt), trumpeter Dave Priseman (Jeff Beck, Imelda May), bassist Ernie Mckone (Boogie Back), saxophonist Simon Bates (Elvis Costello, Chaka Khan, Carleen Anderson), and fresh from his remix work with Paul Weller, vibesman Roger Beaujolais. This brilliant team of collaborators have helped a remarkable musical maverick create a truly unique and incredibly exciting album. Independently self-produced and composed, Firebird is a set of tunes better than any Chris Bangs had ever done.

Experimental guitarist and composer Carlos Ferreira is inspired by how we listen to music and the singer between sound, space, time and memory. He's dropped ambient gems on the likes of Past Inside The Present and Modern Obscure but here serves up a superb cassette on Mystery Circles. Across eight pieces he concurs up a range of feelings from rose-tinted nostalgia on the beautifully tender opener 'The Light We Lost' to more uplifting feels on 'A Pile Of Thoughts' (feat Fu_k The Zeitgeist). 'Organism' has delicate vocal whispers from Patricia Wolf that make it all the more heavenly and a second appearance feature from Fu_k The Zeitgeist on 'Primal' is another standout.

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

Includes one-sided 7” ('It's All Punk (Full version)”, signed and blind stamped limited edition print, fly poster (20cm x 30cm), 20 page 12” x 12” booklet with lyrics and photos laid out in style of newspaper.

The ‘It’s All Punk Rock’ album was initially inspired by various artworks Punk Artist Mal-One had completed and titled. These titles usually turned into Punk Poetry / Lyrics and finally into songs. The idea would lead to grouping these songs together and to add the additional difficult cherry on the top. The songs would also include the word ‘Punk’ in each of their titles. Creating what we called the first Punk Art Concept Album. The title of the album as well as summing up the contents, grew from a term Mal-One had used for years when asked what had inspired a certain work or what was the meaning behind something …”It’s All Punk Rock”’ would be the quick reply.

Each song tells the story or relates the ideas behind a work, whether that be 430 King’s Road (where Punk meets Rock ’N’ Roll) the story of the various guises that Malcolm McLaren and Vivienne Westwood would conceive for their shop from LET IT ROCK, TOO FAST TO LIVE TOO YOUNG TO DIE, SEX, SEDTIONARIES. Anarchy Tour After Grundy (Punks out on Parole) the story of the `Anarchy Tour’ and what happened after the infamous appearance by the Sex Pistols on the ‘Today’ show with Bill Grundy. Punk Rock Jubilee 77, the Silver Jubilee celebrations of 1977 and its punk overtones. The Punk Rockers Gig Prayer, a Punk poem for the various venues that bands played back in those heady times. The Last Punk on Portobello Road (Ode to Joe), a lament to Mr Joe Strummer an inspiration to us all. Yes, every picture as they say tells a story, in this case never a truer word spoken.

Hope you enjoy the ride sonically and visually.

After 9 full length studio albums and playing their asses off at over 800 shows, the Finnish disco metal machine Turmion Kätilöt is ready for the next level in their world dominance. Their 10th full length studio album “Omen X” will be released in 36 countries on 13th January 2023 via Nuclear Blast. The touring cycle starts in Finland immediately after the release of Omen X. Band will play its biggest show ever in Helsinki Ice hall on 14th January 2023. After couple of shows in the home country “Omen X” will be served all over Europe with 20 gigs inFebruary 2023 – see the full show schedule below.
”In the Omen X production, we encountered only positive problems. Due to the closures caused by Covid 19, there were so many songs available this time that it was even painful to choose only one album of songs from them. The amount of material and the difficulty of selection seemed to take up an unnecessary amount of valuable studio time at times. Otherwise, making the album went smoothly as always. From the artist's point of view, the album got a hell of a new sounds and atmosphere. A very cleansing experience. The tenth prophecy has been given. You're welcome!” - MC Raaka Pee
Turmion Kätilöt was formed in 2003 in Finland by MC Raaka Pee and Dj Vastapallo. Soon they were joined by the other members of what would become Turmion Kätilöt: Master Bates, Run-Q, DQ and Spellgoth as a second vocalist. With a couple of line-up changes as Dj Vastapallo left the band in 2009 replaced by Bobby Undertaker on guitars (ex-Deathchain) and Spellgoth leaving in 2017 replaced by Shag-U (Fear Of Domination) on vocals, Turmion Kätilöt has become the mean disco metal machine they are today.
From the very beginning Turmion Kätilöt has had a reputation of being a great live band. Disco beats from the 90’s, metal to the pedal, melodies, sing-a-longs, you name it – there are no rules. Yet still if you peek under the skin you can find the darkness pointing its finger to you. Their live shows have been praised to be the fiercest and craziest mayhem to be witnessed creating the twisted world of Turmion Kätilöt.

Repress auf babypink w/ blue splatter Vinyl, limitiert auf 200 Exemplare. Be Well - ein Zusammenschluss bekannter Gesichter der Hardcore Szene! Ins Leben gerufen von Brian McTeran, Gründer der ikonische Straightedge-Hardcore-Band Battery und ergänzt durch Mike Schleibaum von Darkest Hour und Battery, Aaron Dalbec von Bane sowie Peter Tsouras und Shane Johnson von Fairweathe, wurde Be Well gegründet um McTeran einen neuen Output für seine Emotionen zu geben. Nach der Auflösung von Battery im Jahr 2000 lenkte McTernan seine Energie zunächst in eine arbeitsreiche Karriere als Produzent um. Er hinterließ auf wegweisenden Alben von Bands wie unter anderem Thrice, Hot Water Music, Circa Survive und Turnstile seine Spuren. Bis er 2014 schließlich eine radikale Kehrtwende machte und eine Projektmanagement-Funktion für ein Bauunternehmen übernahm. Anfangs fühlte sich der Wechsel in Tempo und Karriere gesund an. Doch nachdem er oft zwischen Baustellen hin und her und reiste und dabei 400 Meilen pro Tag fuhr - traten größere Probleme in McTernans psychischer Gesundheit hervor. Eine Zeit schwerer Depressionen verlief laut McTernan jahrelang unkontrolliert, bis sich Battery 2017 vorübergehend wiedervereinigten und ihren ersten neuen Song nach 17 Jahren schrieben. Der Song, "My Last Breath", unterschied sich deutlich von allem, was vor ihm kam. In vielerlei Hinsicht diente der Text als spiritueller Vorläufer dessen, was schließlich zu Be Well wurde. Also schrieb McTernan weiter, began seine Erfahrungen durch Texte zu verarbeiten und eine neue Band zu formen. The Weight And The Cost ist das Ergebnis dieser gesammelten Erlebnisse. Ein Album das weit über die Grenzen dessen hinausgeht, was man über die früheren Bands seiner Mitglieder weiß. Die Vergangenheit der Be Well-Mitglieder könnte sogar das Uninteressanteste an diesem Projekt sein. Wo die meisten Hardcore-Platten ihren Inhalt an die Form der Genrekonventionen anpassen, zeigt dieses Album, was möglich ist, wenn der Inhalt die Form schafft: The Weight and the Cost folgt McTernans zutiefst persönlicher Erfahrung.

‘Fuxsake, what a great ride this album is... …Somewhere John Lee Hooker is smiling and stampin' his foot to 'Runnin' Till I'm Done'! Love the 12 string riffing so much - You just don't hear that enough these days - Brings to mind Stevie Ray on killing it on acoustic. Ledfoot on the Goodfoot got some serious mojo'. - Winter Lazerus, mastering master This record was recorded and mixed in two days - live - straight to tape… no edits, no punching in…just me… honest for better or worse – honesty - What a precious thing ‘ - Ledfoot - In short: 10 tracks recorded analogue live to tape during two magic days at Studio Studio Nyhagen. No bullshit, just a unique artist spitting out his soul in the most naked and real setting possible. Gothic blues! Still, the sound, the lyrics and the performance are very much a product of today. Ledfoot aka Tim Scott McConnell is a 12-string guitarist who plays with fitted heavy strings,
a brass slide, steel fingerpicks and a stompbox. He has been touring and releasing music since the late 1970’s and written for artists as varied as Highasakite and TnT to Sheena Easton. In 2014, Bruce Springsteen recorded ‘High Hopes’ as the title track of his album, written by Tim Scott McConnell for the Havalinas debut album in 1990. It debuted as #1 in over 10 countries including the U.S. and the U.K.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

Brothers Charles and Andrew Hendy and their friend Sean McKenna formed The Mary Wallopers as a three-piece ballad group traveling the length and breadth of Ireland singing & collecting songs. Their early live performances exuded a raw energy and their first five track EP - 2019’s A Mouthful of The Mary Wallopers - perfectly captured their sound and ethos, one filled with warmth, intimacy, chaos and enough sparks ready to light any fire. The band recently expanded to a seven piece for live performances.

Single-LP edit of Piñata lacquered at half speed master by Metropolis Mastering in London for the highest fidelity.

After the original release Freddie Gibbs & Madlib's Piñata in 2014, cover artist Jeff Jank made a new sleeve for the album in the style of a 1964 Blue Note album.

Featuring Danny Brown, Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul, Polyester the Saint, BJ The Chicago Kid, Big Time Watts, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko & Freddie Kane.

Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer.

Piñata is a gangster Blaxploitation film on wax, says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroits Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.

On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike Scarface and Knicks, to perhaps the albums most personal song, Broken, a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rappers own Mount Rushmore of MCs (Youre getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs, he says). Deeper, a Gibbs favorite and the third single from the album after Thuggin (2012) and Shame, (2013) is an ode to hip-hop in the mold of Commons I Used to Love H.E.R.; High, featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroits finest; while on Real, Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day.

As a producer, Madlib, quite simply, is music, and ten years into his career-a time when other artists become comfortable-Gibbs remains restless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, hes still on the corner hustling, which would be the downfall of the average rapper. With Piñata, Gibbs confirms that he is anything but average.

LP repress on limited green vinyl. This album is in the Scottish album of the year shortlist. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time.

PRODUCED BY GRAMMY® AWARD-WINNING ANDREW WATT

MUSICIANS ON EVERY LOSER: TAYLOR HAWKINS (FOO FIGHTERS), ANDREW WATT (GRAMMY® AWARD WINNING PRODUCER), DAVE NAVARRO (JANE’S ADDICTION), CHAD SMITH (RED HOT CHILI PEPPERS), TRAVIS BARKER (BLINK 182), STONE GOSSARD (PEARL JAM), JOSH KLINGHOFFER (RED HOT CHILI PEPPERS, PEARL JAM), CHRIS CHANEY (JANE’S ADDICTION), ERIC AVERY (JANE’S ADDICTION), DUFF MCKAGAN (GUNS N' ROSES)

ABOUT IGGY POP

Iggy Pop is a singer, songwriter, musician, author, record producer, DJ, and actor whose epic body of work has earned him both worldwide critical acclaim and fanatic cult success

Credited as “The Godfather of Punk”, spearheading the ‘70s punk and ‘90s grunge movements

PRODUCED BY GRAMMY® AWARD-WINNING ANDREW WATT

MUSICIANS ON EVERY LOSER: TAYLOR HAWKINS (FOO FIGHTERS), ANDREW WATT (GRAMMY® AWARD WINNING PRODUCER), DAVE NAVARRO (JANE’S ADDICTION), CHAD SMITH (RED HOT CHILI PEPPERS), TRAVIS BARKER (BLINK 182), STONE GOSSARD (PEARL JAM), JOSH KLINGHOFFER (RED HOT CHILI PEPPERS, PEARL JAM), CHRIS CHANEY (JANE’S ADDICTION), ERIC AVERY (JANE’S ADDICTION), DUFF MCKAGAN (GUNS N' ROSES)

ABOUT IGGY POP

Iggy Pop is a singer, songwriter, musician, author, record producer, DJ, and actor whose epic body of work has earned him both worldwide critical acclaim and fanatic cult success

Credited as “The Godfather of Punk”, spearheading the ‘70s punk and ‘90s grunge movements

'Xaybu: The Unseen' is the sophomore release from Sélébéyone, the
international avant-rap collective led by saxophonist and composer Steve
Lehman, who has been hailed by The New York Times for his "sure-footed
futurism" in the realms of modern jazz and contemporary classical music
Comprised of MCs HPrizm and Gaston Bandimic, saxophonists Lehman and
Maciek Lasserre, and drummer Damion Reid, their eponymous 2016 debut was
hailed as a game-changing synthesis of underground hip-hop, modern jazz and
live electronic music that was described by Pitchfork as "legitimately new" and a
"revelation."
On 'Xaybu', Sélébéyone - which means "intersection" in Wolof - continues to build
on its groundbreaking work with shifting rhythms and state- of- the art sound
design, now with a newfound sense of effortless fluidity. The word "xaybu" in
Wolof refers to the concept in Islamic mysticism of al- Ghaib - that which is
unknowable and unseeable. HPrizm (a.k.a. High Priest, legend of New York's
underground hip- hop scene and a founding member of Antipop Consortium),
Bandimic (one of Senegal's most distinctive young rap stars), and Lasserre are all
Sufi Muslims, and that spiritual connection and sense of abandon and giving in to
the unknown has been a cornerstone of the group since its inception.
The result is a profound musical statement filled with otherworldly sonorities,
intricate compositional structures, and cutting- edge improvisation that deftly
explores spirituality and mysticism through the lens of experimental music.