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Legendary pedal steel player Susan Alcorn presents her music as curated and arranged by cellist and composer Janel Leppin. This recording is from a live performance from her residency at Issue Project Room in July 2012. Leppin’s arrangements and curation emotes the brilliance, transparency and resonance of the pedal steel guitar. Through this ensemble, the mastery of Susan Alcorn's compositions shine.

Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country music. Having first paid her dues in Texas country & western bands, she began to expand the vocabulary of her instrument through her study of 20th century classical music, visionary jazz, and world musics. Struck by the music of Messiaen she began transcribing classical music from recordings and scores on her instrument. Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist “deep listening” philosophies of Pauline Oliveros. As her records gained a cult following she moved to Baltimore, MD. She performs internationally and is a key figure in the free improv scene in the US.

Janel Leppin is a core member of the Washington, D.C. experimental, jazz, punk and improvisational scenes and is a celebrated visual artist as a weaver. DownBeat Magazine describes her as “An absolute virtuoso”, NPR Music says “instrumental intimacy swept up in arrangements that cluster around her voice, as delicate and as imposing as a sheet of falling ice.”. Janel leads and writes for her free jazz sextet, Ensemble Volcanic Ash “a rarity..ahhh-vant garde at it’s finest." -Capital Bop. Leppin and Alcorn also recorded the composition “Thick Tarragon” by Eyvind Kang from the album Visible Breath on Ideologic Organ. Leppin appears as a string arranger on many recordings on labels from Dischord Records to Sacred Bones.

Jesse James rides again! Rejoining the Soul Junction label to bring you his previously unreleased original version of the song “(The Girl In) Clinton Park”

The song is more widely known through the version recorded by the group Masterplan in 1974 as part of their trilogy of 45 releases on the West Coast Fos-Glo label, with this particular release being later picked up and released on The East Coast Delite label.

The story behind Jess’s solo version began 3 years earlier when following his first spell with the 20th Century label Jesse found himself without a label feeling a little disillusioned with major labels but undeterred in his own ability he decided to finance and record his own masters. Hence on 29th of April 1971, Jesse entered the Searra Sound Studio in Berkley C.A under the direction of producer and friend Willie Hoskins (Wilhos Productions, and the man who gave the world the Natural Four on Boola, Boola and ABC, prior to them joining Curtis Mayfield at Curtom). Jesse recorded a five song session, with one particular song being the Stanley Lippett composition “(The Girl In) Clinton Park”. Lippett who prior to becoming part of the Wilhos Productions team sang with the early 60’s group The Five Brooks before recording two very sought after Northern Soul 45’s “The Stran” and “Outta Sight Loving” for Dick Vance’s Out Of Site Label. Stanley later joined Marvin Holmes & The Uptights Band. It had been Marvin Holmes (he of Brown Door Records fame) who introduced Stanley to Willie Hoskins with Stanley subsequently joining Boola Boola Records and Wilhos Productions. Stanley repaid Marvin for this introduction by composing a song based on Marvin’s 3 year daughter, she being the actual girl from Clinton Park!

Returning to Jesse James, two other songs from this session, a cover version of Etta James “At Last” and “I Know I’ll Never Find Another” did gain a release at the time on the Zay label.

We’ve known about Jesse’s version of this song for many years now but the tape was nowhere to be found and even without hearing it, just knowing the song and that Jesse was a great singer I always promised him that one day I’d put it out. But if there is some good to come out of this pandemic then it was during Jesse’s lock down in Richmond and while browsing through his possessions he luckily found the missing tape, bingo we’re in business!

For this release we have coupled “(The Girl In) Clinton Park” with Jesse’s oh so soulful cover version of the Terry Callier/Larry Wade composition “ Just As Long As We’re In Love” (also recorded by Callier himself and The Mighty Dells), previously issued by Soul Junction on Jesse’s 2012 album “Let Me Show You” (SJLP 5005), enjoy.

The strange and majestic musical beast that is Africadelic was Dibango’s follow-up to Soul Makossa, but it was initially released on Louis Delacour’s library music label, Mondiaphone, before “Soul Makossa” became an international phenomenon. As a
Mondiaphone release, it was aimed at television and film producers seeking atmospheric background music, so the original titles are simply “Theme No 1,” “Theme No 2,” etc, with corresponding rhythmic notations such as “3/4 Africain,” “Afro Beat 12/8” and “Medium Soul Beat,” though once “Soul Makossa” hit the stratosphere, subsequent reissues bore actual song titles. In any case, the album is simply wonderful, a driving mix of Afro soul, funk and jazz, with an undercurrent of Latin percussion throughout, given further shades by rock guitar and soul organ, as heard on “African Battle” and the title track; opener “Soul Fiesta” builds
dramatic percussive tension before Dibango drops a killer vibraphone riff, while “African Carnival” makes the most of the full horn section, Dibango’s sax soloing giving room for complex polyrhythmic percussion breaks. “Oriental Sunset” has beautiful vibraphone from
Dibango too, as well as a thrilling flute melody, “Monkey Beat” and “Wa Wa” are funky soul struts and “Percussion Storm” has the band marching off into the African sunset as Dibango unleashes another killer vibraphone melody. Listening back to the album now, it is hard to believe that the whole shebang was written in a couple of days and committed to tape within the space of a week, but that is all more testimony to the greatness of Manu Dibango, one of African music’s true pioneers. Play loud and often for best effect!

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

Live At Robert Johnson kicks off 2021 with a new cut above the rest thanks to Benjamin Fröhlich, who dons a cosmic Acid-to-Italo four-track EP. Whether „Club Fantasy“ insinuates the phantasy of clubbing in times of a pandemic shutdown in global club cultures, or a club by the name of it, lies within the ears of the listeners. Either way, Benjamin’s ties with the Robert Johnson club can be heard resonating throughout this fantastic EP.

Club Fantasy (Club Version) introduces a a happy 303 reminiscent bouncy bassline, supported by relentless rim shots, fast-forwards the Club Version of the title track directly into the uplifting domains of well-established sounds. Sparse echoing vocal snippets, encouraging us to dance, and by the time the piano stabs finally kick in, it’s all hands up for your very own club phantasies. Club Fantasy (Fantasy Version) boasts a less peaky signature, while working a more playful and driving treatment of the title track, supported by mellow strings, a harder kick and subtle room reverberation. On the flip-side, Escape presents a warm, emotional and cinematic Italo soundscape, featuring floating arpeggios, which flash like coloured strobes in the dark. Benjamin’s final track, Dream Machine, is a beautiful kaleidoscope of sounds, slightly more energetic yet moody, that is sure to catch everyone's ears on the dancefloor.

As a co-founder to Munich based record label Permanent Vacation, but also as a DJ and producer, Benjamin Fröhlich’s musical involvement traces back many years in the Cosmic Disco and Balearic scene, and into the networks of both Robert Johnson club and its label.

It doesn't happen too often that you come across someone with Sam's composure and artistry at such a young age. 22 year old Sam De Nef has been in music for a while as lead singer of indie outfit 'Danny Blue and the Old Socks', but It wasn't until last year he started thinking of a solo career. Influenced by a generation of songwriters he listens to every day, Sam felt an urge to follow his own path and write genuine songs he could play all by himself and at any time, unadorned and without pretence.

He started recording demo's during the March lockdown, swiftly landed a record deal and started recording his debut with Nicolas Rombouts (Dez Mona, Ottla, Stef Kamil Carlens) and PJ Decraene (Rhinos are People too) - also his live band - in an old house in the French Vosges mountains.

The first tracks he released did not go unnoticed at national radio, press and streaming playlists alike. Sam is a prolific writer and lyricist, he recorded a 7 track debut mini album, expected in February. We are instantly struck by his stunning vocals, his versatility and maturity as a songwriter, embracing the classics but never without transcending their influence.

Sam De Nef's first solo project is a vehicle to tell his own stories and write songs that come to him in the most natural way. His debut mini album is an inspired collection of visceral folk and singer songwriter tunes, drenched in nostalgia. He's inspired by the likes of Dylan, Jack Kerouac, Leonard Cohen and Karen Dalton, but displays a unique voice and decidedly steers clear of platitudes.

"On my first trip to Serbia, visiting my girlfriends family, I discovered a whole new world in music. People played their songs around the diner table. What I saw was a family sharing food, alcohol and stories everyone could relate to. This experience opened up a new window, the wind blowing inspiration. I want to tell stories and touch people with simple songs and colorful language."

There is a directness and intimacy throughout each of the record's 23 minutes, which both sparks universal melancholy and makes Sam De Nef's debut very personal.

“Our first ever show in the UK was the opening slot at Brixton Academy so this is just totally emblematic of the support that has grown overseas we are ever grateful for. It’s still the greatest show we have ever played and we will never forget that night. See you all soon! Stay safe.” DMA’S
On March 6th, 2020 a sold-out audience filled the O2 Academy Brixton’s cavernous space from wall-to-wall. The band played the biggest headline show of their career to date half a planet away from home, yet the show conjured the atmosphere of an intimate homecoming celebration.
The O2 Academy Brixton show was immediately hailed as one of the highlights of the band’s career so far, and it has taken on whole new significance given the events that have followed. For many fans it was their final show before live music events were halted.
From early favourites ‘In The Air’ and ‘Lay Down’ to new material such as ‘Silver’ and ‘Life Is A Game Of Changing’ from ‘THE GLOW’ The show is documented in the ‘Live at Brixton’ album, which will be released almost a year to the day later on March 5th. ‘Live at Brixton’ will be released on a striking smoke-effect pink/orange limited edition double vinyl. Its design was inspired by a flare that was set off during the show. The album offers a chance to reminiscence on the life-affirming power of live shows, and also an inspiring reminder of what we’re all looking forward to returning to.

Overcoming all manner of obstacles and finally raising £16,000 via their committed fanbase through Kickstarter, in November 2019 fast rising rockers Mason Hill recorded 11 songs at Riverside Studios in Glasgow, with Scott Taylor later travelling to New York to track his vocals at the legendary Electric Ladyland Studios. Titled in acknowledgement of struggles overcome, the result is Against The Wall, the most hard-hitting and engaging debut album to emerge from the British rock scene in 2020.
From its seductive, inviting opening notes, Against The Wall is an enthralling, spellbinding distillation of everything Mason Hill have learned in their 7 year history. It opens, in dramatic fashion, with the self-explanatory Reborn, climaxing with the lyric, “No more pain, I feel reborn”, a declaration of intent and purpose which sets the tone for what is to follow.

Another lyric encapsulating the defiant resolve of Against The Wall, is the opening line of the stirring, impassioned Hold On. “Wake up, wake up,” Scott Taylor sings. “Did you really think I'd disappear?” That same swagger runs through the album’s gritty title track, an anthemic modern rock masterclass to file alongside the likes of Shinedown and Alter Bridge. Their influence can also be detected in the beautifully bruised climactic epic Where I Belong, where Taylor sings, “I know who I am, and I know where I’ve been” before Bird launches into a stunning solo that recalls Guns N’ Roses legend Slash at his most lyrical.

Overcoming all manner of obstacles and finally raising £16,000 via their committed fanbase through Kickstarter, in November 2019 fast rising rockers Mason Hill recorded 11 songs at Riverside Studios in Glasgow, with Scott Taylor later travelling to New York to track his vocals at the legendary Electric Ladyland Studios. Titled in acknowledgement of struggles overcome, the result is Against The Wall, the most hard-hitting and engaging debut album to emerge from the British rock scene in 2020.
From its seductive, inviting opening notes, Against The Wall is an enthralling, spellbinding distillation of everything Mason Hill have learned in their 7 year history. It opens, in dramatic fashion, with the self-explanatory Reborn, climaxing with the lyric, “No more pain, I feel reborn”, a declaration of intent and purpose which sets the tone for what is to follow.

Another lyric encapsulating the defiant resolve of Against The Wall, is the opening line of the stirring, impassioned Hold On. “Wake up, wake up,” Scott Taylor sings. “Did you really think I'd disappear?” That same swagger runs through the album’s gritty title track, an anthemic modern rock masterclass to file alongside the likes of Shinedown and Alter Bridge. Their influence can also be detected in the beautifully bruised climactic epic Where I Belong, where Taylor sings, “I know who I am, and I know where I’ve been” before Bird launches into a stunning solo that recalls Guns N’ Roses legend Slash at his most lyrical.

A guitarry hybrid of AZITA’s edgy rock / soul / R&B sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you've never felt before. Life.
All instruments played by AZITA; the wackest, most AZITA-harmonious sounding pop album yet.
For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’.
The worlds of the previous AZITAs have left their unmistakable essence. Her singular conception of pop music - the idiosyncratic songs, singing and playing that have graced seven acclaimed releases - is in verdant recurrence on ‘Glen Echo’, blossoming anew, cutting sharply in the spirit and image of her everevolving, always questioning style.
Writing and arranging on keyboards since the time of her solo debut, AZITA focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead.
This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice - AZITA playing everything on the album herself.
Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, AZITA comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.
The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative... where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.
In ‘Glen Echo’ are a multitude of sounds - all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

Barbarossa, AKA British singer songwriter and producer
James Mathé, releases his new album ‘Love Here Listen’
via Memphis Industries.
For this latest batch of songs James Mathé collaborated
with producer du jour Ghost Culture (Daniel Avery, Kelly
Lee Owens, Falle Nioke) at his studio in Margate, Kent in
the South East of England. The pair worked with a
limited range of vintage synths - a Mono Poly, Korg MS-
20 a Roland SH-101 and a Juno 108 borrowed from the
local skate store Palm Bay Skates - with the recordings
bounced down to Mathé’s Fostex R8 reel to reel to give
it that undeniable warmth.
Mathé says of the recording process: “It was probably
the most stress-free record to date and so much fun just
messing around with synth arps. It’s easy with James as
we really understand each other and I trust him totally.
He lives five minutes’ walk along the seafront from me.
We even jumped in the sea a couple times after lunch.”
‘Love Here Listen’ is Mathé’s sixth album since his debut,
‘Sea Like Blood’, released on the Fence Collective back in
2006, since which time he’s joined the Jose Gonzales
live show, become a member of Junip, toured with
Poliça and This Is The Kit and morphed from acoustic
troubadoury to electronic song smithery all the while
seemingly searching for an elusive balance between
hopefulness and melancholy. On ‘Love Here Listen’,
thanks to a reconnecting with the visceral forces of nature, it feels like he’s found it.
Yellow vinyl LP.

‘Island’, the latest album from Oscar-nominated composer and
songwriter Owen Pallett, released on Domino / Secret City
Records (Canada).
Almost entirely acoustic, ‘Island’ begins with 13 darkened
chords and was recorded live at Abbey Road Studios with the
London Contemporary Orchestra. The introduction is the sound
of waking up alone and on the shore of a strange land. What
follows is a shimmering and luscious orchestral album that
draws across the full breadth of Pallett’s discography, from
‘Heartland’’s Technicolor to the glittering, fingerpicked guitar
that marked Pallett’s first records with their trio, Les Mouches.
In addition to Pallett’s Grammy Award-winning work with
Arcade Fire, Pallett’s commissions have included string, brass
and orchestral work for Last Shadow Puppets, The National,
The Mountain Goats, Christine and arrangements for Frank
Ocean, Caribou, R.E.M., Linkin Park, Sigur Rós, Taylor Swift and
the Pet Shop Boys.
Since the release of ‘In Conflict’ (2014), Pallett has earned an
Oscar nomination for their film scoring work on Spike Jonze’s
‘Her’ and an Emmy for Sølve Sundsbø’s ‘Fourteen Actors Acting’.
Their score for Matt Wolf’s ‘Spaceship Earth’, a documentary
about a crew who spent two years quarantined inside a replica
of Earth’s ecosystem called BIOSPHERE 2, is out now.

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?”

Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.

Larry Fitzmaurice

Off the back of her critically acclaimed self-titled
debut album released last year on Invada Records,
Billy Nomates returns with her new EP, ‘Emergency
Telephone’.
The EP is pressed on ‘Ocean Blues Blue’ vinyl and
housed in a deluxe spined sleeve with digital
download card included.
With huge support from BBC 6Music, the year
came to a climax when she was asked by Iggy Pop
to step into his shoes to cover his Christmas show
and, together with featuring on the new Sleaford
Mods single ‘Mork n Mindy’, Billy Nomates has
proved herself to be one of the most original and
respected new artists coming through this year.
‘Emergency Telephone’ sees Billy Nomates develop
her unique sound and unflinching lyrics. Of the
new EP she says, “‘Emergency Telephone’ is
predominantly about communication breakdowns;
personally, mentally, physically. A strange thing to
happen while communication has never had so
many channels. Perhaps we need a direct line.”

Blackpool based noise rock and punk trio ‘Those Fucking Snowflakes’ are a vibrant clash of political punk, hardcore rock and math rock that has been getting 6music play from the likes of Tom Robinson and Gideon Coe and has a two page feature in the next issue of Vive le Rock magazine as well as props from Jason Williamson of Sleaford Mods.

The band formed as a means to scream the dread and horror faced in these confusing times of our modern society. From the current mess of the UK political system to the intolerance of, well, everything. From race and gender to such simple items as Greggs releasing a Vegan Sausage Roll, the band are shouting about it backed with a tight unique sound and occasional off kilter humour.

‘deploying 1000 volts through the civility of discourse’


The band have self released two EP’s - ‘U Ok Hun?’ and ‘Straight Wealthy White Male Suffrage’ on their own label ‘The Recording Industry Is Dead, Records’.

Green Man Rising 2020 winner, Nuha Ruby Ra, announces her debut EP ‘How To Move’ out on Brace Yourself Records on 5th March 2021. A visceral and striking debut from the East London avant-punk, Nuha delivers frenzied poetic energy across the seven tracks bearing comparisons to Lydia Lunch and Sonic Youth.

Nuha Ruby Ra has spent the last few months cultivating a dedicated following and racking up an impressive catalogue of collaborators from around the world. Nuha has performed alongside the likes of Bo Ningen, Uncanny Valley, Charlie Boyer and more, and appeared on recordings by Flamingods and Warmduscher. In the short time she’s been playing these tracks she’s amassed support slots with Fat White Family, Surfbort, Amyl and the Sniffers, Bambara, Japanese Television.

The EP 'How To Move' began as bedroom projects, before Nuha developed the tracks in the actual vintage synth cave of the Psychedelic Furs, joined by members of Liars and Insecure Men. It was produced by Tony Visconti protégé Erin Tonkin (David Bowie’s ‘Blackstar’) and mastered by Pete Maher (Patti Smith, Lana Del Ray etc.)

BirdPen - All Function One, an album about isolation, the fear of going outside in an uncertain world, virtual sex, deep fakes, digital sadness and living a hollow cyber life. Musically flowing with soundscape guitars, soaring melancholic strings, rolling heavy bass, kraut drumbeats, subtle electronics and emotionally performed meaningful lyrics. An album fitting with the times and the current un-certain, sometimes lost world.

Frontman of Nottingham punk band Kagoule, Cai Burns, returns as Blood Wizard. Arriving with no fixed direction, Blood Wizard is a project that sees Burns explore himself as a brand new entity, an artist beyond boundaries and preconceptions.

First single ‘Breaking Even’, showcases Burns’ impeccable songwriting skills and acts as the perfect introduction to this exciting project. With jangled, stop-and-go instrumentation, it is sheer artistic satire with an added charm.

Burns says about ‘Breaking Even’: “Breaking Even is a song about doing a lot for someone, changing yourself to fit their ideas of you but not getting the same in return. It's a satirical commentary on the effect that can have on a friendship or relationship”

Western Spaghetti, out 5th March 2021 via Moshi Moshi Records. Filled with crisp hooks, it is an album that has a predominant folk undertone that also expertedly navigates through various textures and dark melodies. There was not an album in


mind when Burns first started recording with Tom Towle at Random Recording Studio - just fragments of songs that all came together when the world paused in the spring and Burns realised that what he had been working on over the last few months could become a full record. The structure of the album follows suit, chopping and changing between harder-edged sounds and acoustic meanderings.

There is a forward honesty and a witty wryness to Blood Wizard. “Hooray to the big news, got my mouth around the spoiled fruit” he sighs on Fruit, a song about keeping happy for your friends’ achievements while your life feels static. Meanwhile, Total Depravity’s stand-out, bittersweet lyric “I’m never going to get that jacket back” pinpoints a singular moment amongst an anxious blur and a time he cannot return to. The infectious and fuzzy Carcrash draws on the weird ways love can be displayed, whilst in stark contrast, the subdued Somehow I Knew tells of the people you’ve never got to know.

[e] A5. Charles Mingus - II B.S. [Album Version]

The new duo album by Yuri Honing and Wolfert Brederode contains
compositions by both artists complimented by pieces from Charlie Haden Friedrich Hollander and Billy Strayhorn.
“Avalon is inspired by an ancient Celtic myth of an island in dense fog where the Holy Grail is said to be located, King Arthur is buried and where Excalibur is hidden.
I use it as a metaphor for the present time in which we live in which it is not clear to anyone what the world will look like after the pandemic.
The single Avalon is a dreamy piece of music that is also used for the exhibition in De Fundatie that will run until the spring of 2021.” - Yuri Honing

Pianist/composer Maria Kannegaard presents ‘Sand i en vik’, a rapid
follow-up to the album ‘Nadeslas’.
Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard’s piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it.
The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point.
Plaintive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture.
Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios.

Since 2005, Swedish sound artist Dag Rosenqvist has released 30 albums, EP’s and cassette tapes in different constellations, the main one being Jasper TX that was put to rest 2012. Other constellations include From The Mouth of The Sun, de la Mancha and The Silence Set. He has also collaborated with Machinefabriek, Mike Weis, Aaron Martin and Simon Scott and released albums on Miasmah, Fang Bomb, Experimedia and Kning Disk.

To start a second year, Laaps is glad to have his new album on board, a new turn on the Dag Rosenqvist's works, it could be a soundtrack and it should be. Between "Blade Runner", "Stranger Things", and "Dark", Dag Rosenqvist has made his own chapter.

So we have been slacking a bit on Disco and Modern 45s, we are putting that right this month with some strong dancefloor r(or live stream) releases for when they exist hopefully later this year. True Image - Keep Me Dancing was a spin for me back in the day but sold it when I bought my house 10 years ago, thanks to being hooked up with the owners this dancefloor banger is democratized for everyone to enjoy at the right price, do it.

Testament is often credited as one of the most popular and influential bands of the thrash metal scene. Their debut album The Legacy immediately made an impact when it was first released in 1987. Music critic Alex Henderson of AllMusic gave it 4.5 out of 5 stars, praising the record for its “thrash circles” and for being “a relentlessly heavy and promising effort focusing on such subjects as the occult, witchcraft, nuclear war, and global destruction”. It made many year-end lists including those of renowned metal publishers Metal Injection. Loudwire lists the album among the ten best thrash records that weren’t released by The Big 4. The album spawned one single release, lead-off track “Over The Wall”, which the band still plays live during nearly every show they play and remains one of the most popular songs among fans.

This limited edition of only 1500 numbered copies release contains an insert and is pressed on silver coloured vinyl.

The Glass Passenger is the second album by American alternative rockers Jack’s Mannequin. It captures frontman Andrew McMahon during a darker period, after he was diagnosed with leukaemia. Some painful subjects are woven into the pop- rock and orchestral sounds. From the slow-burning “Spinning” to the razor sharp single “Swim”, it’s a versatile and colourful album.

Jack’s Mannequin is the side project of Andrew McMahon from pop punk band Something Corporate. They recorded three albums during their existence. McMahon crafted some incredible pop songs for the band.

The album, which also contains bonus track “Miss California”, is available as a limited edition of 2500 individually numbered copies on silver vinyl.

John Norum might be best known for being the guitarist in the Swedish hard rock band Europe, but he has simultaneously maintained a successful solo career. Face The Truth is his second album, released in 1992, five years after debut Total Control. The record features Glenn Hughes (of Black Sabbath and Deep Purple fame) on vocals for several songs, as well as guest appearances by Joey Tempest (Europe) and Mikkey Dee (Motörhead). A true hard rock all- star effort, that also includes Norum’s cover version of Thin Lizzy’s song “Opium Trail”. It is available on coloured vinyl for the first time, as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

File Under: Jazz / Contemporary Jazz - For fans of Ryuichi Sakamoto, Boards of Canada, Linda May Han Oh, Supersilent, Nels Cline, Makaya McCraven, and Haruka Nakamura! Born in Pinsk, Belarus in 1984 and immigrating to Canada in 1992 with the collapse of the USSR; Alexei Orechin has been actively shaping musical environments with his current projects No Seas, a solo project for guitar and tape, and leading his own ensemble incorporating jazz, chamber, and experimental elements into his compositional work. A diverse talent that is reflected in the company he has shared the stage with: Nas, Akae Beka, Rana Mansour, Shad, Yaadcore, and Sina Bathaie. He has played in USA, Mexico, Europe, and Russia. Performances include the TD and Montreal Jazz Festivals, Caribana, Irie Music Festival, Tirgan Festival, and Pride Toronto. His music for film has been featured at TIFF, CFC, NFB and the Warsaw Jewish Film Festival. He has been featured on CBC, Noisey, Global News, The Star, Dub Rockers, Huffpost, Afropunk, and Relix magazine. 2020 saw the premier of '1992 Ambient', a 45-minute long composition that is a 'therapeutic experiment in slowly melting sound and colour; representing the acculturation and restructuring oneself through emigrating from Russia to Canada in 1992'. 2021 will also see the release of his debut full length album Mirages; an album that showcases his diverse and ever evolving style of composition, ranging from moments of melodic solitude to fractal experimentalism.

Ståle Storlokken - Rhodes piano, Hammond organ, grand piano, Eminent 310, Mellotron, Continuum Nikolai Hængsle - Electric bass, electric and acoustic guitars Torstein Lofthus - Drums, percussion. After a solid run of five studio albums and 2019's two double live albums, Psychedelic Backfire I and II, Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect Arrival Of The New Elders comes as a welcome and most timely addition to their recorded output. More varied, mature and reflective, don't let the self-ironic (?) title mislead you, they are as groovy as ever, but more structured and less jam oriented, with the longest track clocking in around the seven minute mark. Rather short, by their standards.Having built a solid live reputation even before their brilliant 2008 debut Dodovoodoo, the trio boasts what is probably the strongest rhythm section in Norway, complemented with keyboard magician extraordinaire, the one and only Ståle Storlokken. And boy, does he excel himself on this album, notably with more focus on the Rhodes than before. That said, this is nothing if not another strong group effort from what has been a very tight unit straight from the outset. Seven brand new compositions from Storlokken and one from Hængsle make way for what we consider to be their finest and most cohesive album to date. Arrival Of The New Elders was recorded by trusted stalwart Christian Engfelt, with early Dungen producer Mattias Glavå handling the mixing duties.Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He's also a member of Moster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band Of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

Originally recorded and released in 1980, "Six of One" beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from "Saxophone Solos" and with circular breathing and polyphonics well worn into his live performances, Parker's experimentations here produce sustained passages of brilliant flight. Set into the echoes and resonances of St Judes On The Hill church, the results are stunning. "The recital commences with a split tone line of twining sine waves that expand and contract in telepathic collusion. Pitch dynamics narrow and redefine themselves more emphatically on the second piece where sliding legato rivulets born of Parker's compartmentalized tonguing create the sonic semblance of up to three separate voices emanating from the single reed speech center. It's a feat he's accomplished innumerable times since, but every fresh hearing never fails to open an aperture into a style of improvisatory expression that is at once wholly alien and intensely mesmerizing. There's also something strangely subterranean about the flood of sounds, like the rush percolating water through an underground aquifer system enroute to unknown tributaries. The third piece trades tightly braided tones for leaner and more linear phrases, but a vaporous trail of phantom notes still clings to the central line. And so it goes, with the illusion of repetition guiding the momentum, though Parker never explicitly repeats himself." - Derek Taylor, All About Jazz Transferred from the original master tapes at Abbey Road Studios and released in an edition of 500.

LP Ltd edition GOLD vinyl, DL card (First pressing 500 copies only). New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A "heavy ambient" instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip. A full-length follow up to 'Joint Chiefs' from 2006, 'Celestial Scuzz' is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door. While Bardo Pond's trajectory takes them deep into rock music's ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a "sanctuary; balm for the soul." Describing the writing process, Michael Gibbons explains it as "a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam." // Bardo Pond: "One of underground rock's most extraordinary enigmas." The Quietus // "An exquisite and enjoyable side trip into harmonious interstellar regions with stripped down instrumentation, they drift into shimmering passages of temporal displacement." Brainwashed

Glenn Miller, leader of the best-loved dance band of all time
enlisted in 1942 in a personal crusade to entertain Allied
troops with his own distinctive brand of music. Whether
delivering ballads or setting the dancefloor moving with
‘Pennsylvania 6-5000’ and ‘The Woodpecker Song’, Miller
and his merry men set the mood of not only his fellow troops
but whole nations. He, and they, will never be forgotten.

REISSUE FOR THIS SUBS' COLLECTION OF RE-RECORDED OLD CLASSICS ALONG WITH SOME LIVE TRACKS. ORIGINALLY OUT ON CD ONLY IN 2008, NOW

AVAILABLE ON 12" FORMAT THANKS TO THE COMBAT ROCK LABEL FROM FRANCE.

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

James Johnston (Gallon Drunk / Nick Cave / PJ Harvey) and Steve Gullick (renowned music photographer) are pleased to announce their new album out on the 26th Feb 2021. It's a dark but beautiful trip. After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. After the first tracks began to evolve, however, they knew they’d unearthed something compelling and fresh, not to mention unexpectedly mysterious. This became WE TRAVEL TIME.The result is a deceptively crafted album that slowly reveals – and, more importantly, embraces – beauty in its cracks. Piano, voice, violin and guitar create a drifting haze, with the focus on these acoustic elements forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers, as well as the gentle, haunting influence of contemporary minimal classical. Ambient sounds – birds, rain, cars, clocks, distant voices – also drift in and out, melting into the music’s fabric via windows left open during the early 2020 heatwave. WE TRAVEL TIME, nonetheless, resists definition, remaining enigmatically timeless.

Originally released on Celluloid Lunch (Canada), really excited to do the Euro edition. Drawing influence from the looser end of the Ork records catalogue, the sensitive side of Ohio’s proto-punk scene and the grittiest and most sluggish tangent of 70’s power pop, Itchy Self’s debut 12” is an exploration of fully formed songs treated with spontaneous delivery. The group got together in early 2020 for 3 practices and a recording session and here are the results, laid out in their raw form. This is cross-generational racket n roll music that wears its heart on its loosey goosey sleeve. ‘B what you B’ is a life affirming testament to living against the grain that calls to mind the Modern Lovers’ aggressive positivity. Title track ‘Here’s the Rub’ is a barrage of abstract lyrics and skronky shred. ‘God Bless the Ego’ is an ode to the looseness and blurry eyed lucidity of indie rock’s forbearers such as Chilton, Kilgour, Pollard and Malkmus. ‘Reprobate’ is a Stones style ballad that channels the Saints and Johnny Thunders in equal measures. ‘Playing MTV’ is an audacious end remark to the record, that rips on classic Velvets strut and testifies it’s own ridiculous merit through boastful and catty lyrics. All in all, of course, it’s only Rock n Roll. This record is 1 part follow up to the Protruders “Poison Future” 12” on Feel It records (2019) and 1 part the first chapter of a new and exciting group formed in Canada’s capital of de-proffessionalized rock music. Recorded to 1/4 inch tape by Scott Munro (Preoccupations) and mastered by Mikey Young (Total Control), this record should provide a concise opening statement to anyone with the least bit of concern about Itchy Self. You’re gonna need an ocean of calamine lotion. Sorry State Records

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

Das zweite Tensnake-Studioalbum "L.A." erscheint nun endlich auf Vinyl. Benannt nach der Metropole an der US-Westküste, in der der Hamburger DJ und Produzent sechs Jahre lang eine Liebesbeziehung erlebte, huldigt Tensnake mit den 14 Tracks seine Liebe zum Pop, was sich besonders in dem Pointer Sisters-Cover "Automatic" widerspiegelt, das allein auf Spotify bereits über 5 Mio. Streams zählt und damit - nach seinem Klassiker "Coma Cat" (2010) - sein zweitmeistgestreamter Hit ist. Tensnakes Zeit in L.A. brachte ein exzellentes House-Pop-Album mit zahlreichen Vocal-Ohrwürmern und entspannten Instrumentals hervor.