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1. Some records hit you with an instant impression of timeless brilliance, and Low Life’s Dogging is one of those records, what the wise call “an instant classic”. 2. From Squats to Lots: The Agony and the XTC of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: you’re going to need some time with it. 3. Some show, some grow. Low Life have done both. This one is a grower. Spend some time with this one. It’s got that nuanced flavour. Don’t guzzle. Sip. Savour. 4. Sip it, and sense the recurring brilliance of Mitch Tolman’s lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. 5. There is a celebration of resilience and that’s a central theme of this record and a time like ours needs a record like Agony & XTC. Low times are coming through, but if you’re low they won’t get to you. 6. Iggy Pop’s Bowie produced studio rock masterpieces ‘The Idiot’ and ‘Lust For Life’ are important reference points to the 3rd album sounds of Low Life. Here comes success! 7. ‘The Agony and Ecstasy’ is a 1985 novel by Irving Stone about the life of Italian Renaissance painter Michelangelo. Stone wrote another novel about the single eared painter Vincent Van Gogh called ‘Lust For Life’. This synchronicity hit me. 8. Iggy and the Stooges are a pretty safe reference for Low Life (and all good rock music). Iggy and the Stooges are a low life’s Michelangelo, but solo Iggy like Lust for Life is a better reference for this particular incarnation of Low Life, which is to say they are studio rock albums. 9. Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. 10. Let’s stick to this, because there’s something about this era of Bowie that makes sense with Low Life’s new album, particularly Low. One should never miss the Low in our new album from Low Life. Producer and studio boss Mickey Grossman has the ear for the Low, and he has carved out a little statue of David right here. 11. Mickey’s ears are recording, mixing and producing the best of Sydney, most notably the Oily Boys Cro Memory Grin. A great companion record to this one. Use Agony & XTC AFTER Oily Boys. Not on an empty stomach, and don’t try to operate heavy machinery (bobcat, bulldozer etc). 12. The relationship between Low Life and Sydney hardcore should not be understated, but it also shouldn’t guide how to listen to Agony & XTC. This is not austere, disciplined music. 13. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. You wouldn’t play it to a teenager. It’s not for children. This is a mature flavour, one for the adults who have had to contend with failure and hardship, medical bills and disappointed family members, betrayed lovers and worrisome growths, police brutality and tooth decay, humiliating bowels and collapsed septums, detoxing and drying out, for those who have seen themselves as corrupted and putrid and unloveable, for those who endure all of this and aren’t willing to lie down and cop it sweet: Low Life are still here and they ain’t going nowhere. NOTES ON HOW NOT TO LISTEN TO AGONY AND XTC OF LOW LIFE: 1. Don’t think of shoe-gaze. It suggests a safe passage to 90’s reminiscences, a vogue style of our time, but nothing to do with Low Life style. Low Life style is always of its time. The content changes. Agony & XTC shares weight of records like My Bloody Valentine’s Loveless and Slowdive’s Kebab, records that were laboured on after the songs were recorded, songs that were written as they were recorded. 2. We can call these “studio albums” as opposed to albums built in the heat of live performance. Studio albums from the 90’s are called shoe-gaze by some journalist nerds, but we know better than to use words like this. 3. Studio albums are excessive and, at the same time, so empty. Agony & XTC, Loveless, Kebab, Rumours: excessive! And empty. This is not to suggest this is Low Lite, some throwback, soft. A band like Low Life can make an overproduced studio rock album without having to use the word shoe-gaze. So, don’t think studio albums mean anything especially 90’s. Don’t look back. 4. Let’s lose these distasteful labels, like “shoe-gaze”, “rehab rock”, “stab”, “guitar OD overdrive”, “western Sydney wonder”. They can fade out. A low life was once referred to as a vagabond. Who uses this term today? Nobody. Language can murder. Words can die. Kill ‘em all! - Daniel 'DX' Stewart, Melbourne, 2021.

It’s all in a haze…

Time and life has happened and memories fade. These recordings were made in 1991 and 1992 when we were proudly surfing our mid teens and spending enormous amounts of time in the studio. Every weekend was spent upstairs at Zwarre’s house with analogue synths, VHS sessions watching splatter movies and Psychic TV’s ”8Transmissions8”, going through the Paul Kelday and Sound of Pig cassettes, reading zines to find out more about bands and labels operating the experimental music world, and dreaming about a life away.

Alvars Orkester had been going since ’87 and we had lost a few members so we were down to a duo. We had gone from being kind of all over the place, to investigating how sound affect your mind, and narrow it down. Recording together were magic moments, and it did change me to whoever I am today. These vague memories are dear to me.

Joachim Nordwall, Brännö, August 9th 2021

4 Reworked & Reimagined tracks from Motherhood and a cover of Deftone’s “Teenager”. Clear w/ Blue Glitter Colored Cassette Shell, with full pull-out J-Card artwork. Recommended If You Like : Bjork’s Live Box, The Deftones Cate Le Bon. Montreal’s No Joy—since 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluz has rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3’s Pete Kember. In 2020, her first full-length as a soloist and No Joy’s first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity? Now, White-Gluz’s ever-expansive evolution has brought forth Can My Daughter See Me From Heaven, an EP reanimation of five songs from Motherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirth—an opportunity to grow those tracks, similar to the transformation they would’ve undergone live, on stage. “Songs take on a new life when I’m on tour. These songs didn’t get that chance. I still had more to say with them,” White-Gluz explains. “I probably never would’ve been like ‘let’s get a bunch of classically trained players together,’ if it wasn’t for covid-19 canceling tours. This EP was an opportunity to do something that wasn’t obvious. It’s a bedroom recording, but it doesn’t sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid.” Where many musicians used last year’s disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: “It was more, ‘Let’s try everything!’ Give me something to look at!”

The Monsters wurden 1986 in Bern der Schweiz gegründet, als Alternative zur damaligen populären Musik (z. B. Disco, Pop, Top 40 Rock). Sie nannten dies "Teenage Primitive Rock n' Roll Chainsaw Massacre Garage Trash Mix up Rockabilly mit Punkrock und Garage" und haben sich zu einer gefragten Garagen-Punkrockband gemausert, die auf Festivals, in Klubs und großen Hallen so weit gen Osten wie Japan, gen Süden wie Brasilien und gen Norden zu den Skandinavier resit und dort audspielt. Sogar im so Wilden Westen wie New York City in Amerika. Und dann öffnet 2020 die Türen, YAHOO!!! Die Welt wurde komplett abgeschottet und die Pläne aller änderten sich! Da es in naher Zukunft keine Tourneen gäbe, war es jetzt an der Zeit, ein neues Album zu machen. So widmete sich die Band zwei Wochen, um ihren Proberaum aufzuräumen und neue Musik zu schreiben, und 3 Tage im Berner Shirt Off Studio um diese aufzunehmen. Voila! Hier hast du Rosemary's Baby den Knüppel aus dem Sack: 13 raue, laute und spritzig klingende Tracks, die live ohne Overdubs (nur der Gesang/das Geschrei') aufgenommen wurden. Textlich ist das Album eine komplette Katastrophe mit nicht viel mehr als 120 Wörtern, welche aneinandergereiht meistenfalls keinen Sinn ergeben! Es ist eigentlich völliger Quatsch, aber THE MONSTERS lieben es!

Singer/songwriter and guitarist Jayan Bertrand, bassist Josh Ewers, electronic drummer Josue Vargas and guitarist Dion Kerr have coined new genre “Caribbean Jazzgaze” to describe their wholly unique combination of jazz, shoegaze, rock, hip-hop, and Afro-Caribbean rhythms that is Seafoam Walls.Seafoam Walls caught the attention of cultish music and art communities around South Florida with a soundtrack befitting of their dark tropical paradise, and have remained a Miami secret since 2016. Bandleader Jayan began his journey as a musician listening to metal and classic rock. His first formal lessons after a year of self-taught practice came from a family friend and talented jazz guitarist, Bemol Telfort. Although jazz wasn’t his first love but opened his heart to explorations of free improvisation which led to an introduction to Dion, Josh, and Josue — all active members on South Florida’s jazz scene. Seafoam Walls released their first EP, titled R-E-F-L-E-C-T in 2018 and ROOT in 2019 via Bandcamp. The band recently attracted international rock n roll consciousness following a secret all-ages matinee in the gardens of North Miami’s Centre for Subtropical Affairs with DC hardcore photographer Susie J (Teen Idles, Minor Threat, et al.) and Sonic Youth’s Thurston Moore front row centre. The Miami indie band completed the eight-track album entitled XVI earlier this year. Norwegian sound artist Lasse Marhaug mastered the work, and the band will stream three singles through the summer and autumn months before releasing the complete album at the end of 2021 on seafoam-green coloured vinyl via Daydream Library Series.

New purple splatter repress of ‘Monsters’, the latest album
from US-based duo The Midnight.

Having gone from online cult fascination to selling out
London’s Roundhouse, The Midnight’s ‘Monsters’ debuted in
the UK Top 100 Album Chart on release, ahead of a sure-tobe-sold-out tour that includes headining Brixton Academy.

The album finds lyricist, guitarist Tyler Lyle and
instrumentalist and producer Tim McEwan creating a
sweeping sound that fuses Americana archetypes with an
evocative electronic palette referencing synth-driven film
scores, deep house, pop and rock.

‘Monsters’ (released via Counter Records - Maribou State,
ODESZA) sees a continuation of The Midnight’s immersive
world-building that has attracted a rabid fanbase. From the
album artwork to the song titles, the record excavates
teenage emotions through nostalgic touchstones - the early
internet, VHS tapes, PlayStations, movie posters - to
recreate the thrilling and crushing experiences of those
tumultuous years.

For fans of Kyle Dixon (‘Stranger Things’ OST), The 1975,
M83, The Weeknd, Muse, Chromatics, Hot Chip, Chvrches.

Fans of the band also include actor Chris Evans (‘The
Avengers’, ‘Captain America’) and legendary producer
Quincy Jones.

“Big soundscapes, dreamy vocals, and saxophone solos - for
years.” - BBC Newsbeat

2LP pressed on 140g purple splatter vinyl in a gloss
varnished gatefold sleeve with printed inners plus digital
download code.

Lucid Express is five young dreamers who create a stunning airy blend of shoegaze and indie pop amongst the skyscrapers, mountains, and packed alleyways of Hong Kong. The name itself a modest mission statement of the band's intent: lucid in the poetic sense of something bright and radiant. The group formed as teens in the winter of 2014 in the turbulent weeks just prior to the Umbrella Movement. Vocalist/synth player Kim says "at that time it felt like we have a need to hold on to something more beautiful than before. Like close friendships, the band, our creation." Listening to their blissful, dreamy compositions, it may come as no surprise that these songs carry the mood of their times of inception. With all members of the band working late-night shifts, this led to a rehearsal and recording schedule that found the band playing between midnight and 4am and then crashing together on the studio floor before returning to work early in the AM. Debut album Lucid Express was given an extra sparkle thanks to the creative mixing of Max Bloom (Yuck), operates as the service to take the listener on a journey through the band's color-soaked sounds.

Built around the successes of his soundtracks and songs for the movies of Christophe Honoré, Alex Beaupain’s profile in the ‘chanson française’ landscape is quite unique. Beaupain alternates between soundtracks, songs he writes for others (mainly great French actresses) and his own solo albums.
In march 2021, Beaupain paid tribute to the late Serge Gainsbourg for the 30th anniversary of his passing during a special live on air event where he covered in full, with the Radio France Philharmonic Orchestra, Gainsbourg’s penultimate shocking album from 1984 : Love On The Beat.
This experience led him directly in the studio with Saint DX as producer, the French American duet Faux Real singing backing vocals and a full string section to re-record this cult album with a 2021 twist. He had also dreamed of covering that particular album that had so much impact on him, musically and lyrically, when he first discovered it. The 80s funky sound of the record, produced by Billy Rush, was a new start for Gainsbourg and at the time, the lyrics schocked everyone but achieved to avoid any censorship.
“I was 10 when Love On The Beat was released in 1984. Covering the full album was an idea I always kept somewhere in my mind as I was fully aware of the long lasting impact this particular record had on all the teenagers at the time. This collection of songs is far from being the most covered or talked about works form Gainsbourg, but I’ve always had the feeling they were ‘mine’. That everything started there for me and that, one day or the other, I would have to come back to it.” (Alex Beaupain)

Haley Dahl, die seit ihrer Teenagerzeit als Sloppy Jane auftritt, ist neuerdings bei Phoebe Bridgers' Label Saddest Factory Records unter Vertrag. Phoebe und Haley sind schon seit Schulzeiten eng befreundet. Damals war Sloppy Jane eine Teen-Punkband. Die ersten Mitglieder waren Phoebe Bridgers am Bass, Sarah Cath an der Gitarre und Imogen Teasley-Vlautin am Schlagzeug. Heute hat die Band mehr als ein Dutzend Mitglieder und sich in ein Kammerpop-Projekt verwandelt. Für ihr neues Album "Madison" verbrachte Dahl drei Jahre damit, Höhlen zu erkunden, die ihre Vision für das Album einfangen könnten. Ihre Suche führte sie quer durch die USA, wobei sie sich mit der unterschiedlichen Akustik jeder Option beschäftigte, bevor sie bei den Lost World Caverns landete. Das Ergebnis ist ein wunderschönes, persönliches Werk, eine große Geste, ein kraftvolles Statement über obsessive Liebe und über das Hineinwachsen in sich selbst nach einer lebensverändernden Beziehung. Dahl und ihre 21 Bandkollegen nahmen Madison zwei Wochen lang jeden Tag von 15 Uhr bis 8:30 Uhr in den Höhlen auf. Um in die Höhle zu gelangen, mussten sie durch die Rückseite eines Geschenkeladens in einen langen Tunnel eindringen, wo sie über 200 Treppen zum Eingang hinuntergehen mussten. Dahl und Co. bewältigten diesen steilen Weg mit einem Klavier. Die Decke der Lost World Caverns ist riesig hoch und bildet eine perfekte Kuppel. Außerdem herrschte im Inneren eine Luftfeuchtigkeit von 98 Prozent, was sowohl zu einem hervorragenden Klang als auch zu Problemen mit der Stimmung und der Ausrüstung führte. Der Tontechniker Ryan Howe saß mit seinem Mischpult und seinem Computer im Subaru seiner Eltern oberhalb der Höhle und fädelte Kabel durch ein Loch im Boden bis zur Decke der Höhle. Auf dieses Album, das so vollständig realisiert und sorgfältig ausgeführt wurde, hat Dahl lange gewartet und auch als Musikerin viel gelernt: Für Madison lernte sie, wie man für Kammermusikinstrumente schreibt und brachte sich selbst das Klavierspielen bei. Die Platte lässt sich nur schwer kategorisieren. Es ist David Bowie wenn der Song "Crying" von Roy Orbison am Ende von Harmony Korines Film "Gummo" gespielt wird. Es ist My Chemical Romance trifft Sgt. Pepper. Courtney Love und Queen. Es ist ein riesiges, blumiges, samtiges Ding voller Spielzeugpferde und Stalagmiten. Er folgt einer großen Linie: einer großen Geste, die so groß ist, dass sie die ganze Erde bewegt. "I'm glad to live in a world where Haley Dahl wanting to go to a cave to make a record just makes sense. This is already a classic album." - Phoebe Bridgers

BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players. THE MUSIC A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ. We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa..

Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.

Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.

The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.

Additionally, the band are about to embark on a series of very special three night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.

Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.

Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.

The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.

Additionally, the band are about to embark on a series of very special three-night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you
would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were
lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have
one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing
beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be
real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a
bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC
“LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The
legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John
was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he
was obsessed (and still is) and had to start a band to channel his obsessions. With the help
of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as
“Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas
scared the world silly and blew everyone else off the stage and before Easy Action started
melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as
shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the
American Underground Music puzzle. We worked closely with John Brannon and Warren
Defever, one of Third Man Mastering’s resident wizards, to put together this essential
collection of demos and live recordings.

The Fabulous Counts were originally a teenage instrumental group of five musicians, Mose Davis (Organ and Piano), Demetrius ‘Demo’ Gates (Alto Saxophone and vocals), Jim White (Tenor Sax), Andrew T. Gibson (Drums) and Raoul Keith Mangrum (Percussion and Flute) who were later joined by the older, more experience Leroy Emanuel (Guitar and vocals). Emmanuel was invited into the group as it’s band leader by the groups manager Fred McClure, a former Detroit boxing champion who also happened to be the manager of another popular Detroit group the singing Metro’s of the hit recording “Sweetest One” fame and their subsequent respected RCA album of the same name. The Fabulous Counts would often perform at shows as the Metro’s backing band.

The Fabulous Counts first big break came after knocking several Detroit Record labels doors. They were eventually invited in by Ollie McLaughlin’s Moira studio to record, under the tutelage of Popcorn Wylie the one take hit “Jan, Jan (Moira-103). A further two Moira 45’s followed of which “Get Down People/Lunar Funk “(Moira-108) also scored high on the R&B charts. Through a deal arranged by McLaughlin The Counts released their respected “Jan, Jan” album on the Atlantic distributed Cotillion label in 1969. Moving on to Armen Boladian’s Westbound label, during 1970 the group simply changed their name to The Counts and charted with their 1971 “What’s Up Front” Westbound album, also releasing a solitary 45 “Thinking Single/Why Not Start All Over Again”. In 1972 while still part of the Westbound set up The Counts recorded two major label 45’s under the pseudonyms of Bad Smoke “Crawl Ya’ll Part 1&2” (Chess-2124) and Lunar Funk “Mr Penguin Part 1&2” (Bell 45-172), the latter being thier biggest hit. A subsequent move to Atlanta, GA saw The Counts sign with Michael Thevis’s Aware records where they recorded a further two successful albums “Love Sign” (1973) and “Funk Pump” (1975), plus a string of 45’s. In 1976 although officially never breaking up The Counts members went their separate ways to explore different life opportunity’s.



During 1978 and while still in Atlanta Leroy Emanuel borrowed money from his family and reuniting with his fellow Counts, Mose, Demo, and Jimmy Jackson Jr, they, accompanied by a local strings section recorded a session of material that spawned two songs “What’s It All About” and “Motorcity”. Which Leroy later made a deal with Terry Mendelson to release on a 45 on his TM label. The Counts had previously known Mendelson through his brother Bernie at Westbound. The TM 45 made very little noise with many of the copies having mispressed labels. Although later reissued and mistakenly credited as two previously unissued Westbound recordings on several latter Cd compilations it came to light that quite a few avid European soul collectors actually owned copies of this high quality, very elusive and desirable 45! With demand still seemingly high it seems a good time for Soul Junction to reissue it. The A-side, “What’s It All About” features its composer Leroy Emanuel on lead vocals with the other Counts adding to the backing chorus. The flipside of this 45 from the same session is the previously unreleased Mose Davis penned “Watch The Clock” which is more in keeping with the Counts traditional funk groove, enjoy.

Auf Deerhoof ist Verlass: 2020 veröffentlichte die Band "Future Teenage Cave Artists" und überraschte mit dem Gratis-Album "Love-Lore" (auf dem sie 43 Songs in 35 Minuten coverten!), schon lassen die experimentellen Indie-Rocker bereits ihr nächstes Werk folgen. Mit "Actually, You Can", ihrem insgesamt 18. Studioalbum, beweisen Deerhoof, dass - von der kreativen Neuerfindung nach 25 Jahren Karriere bis zur Selbstverwirklichung inmitten einer globaler Umwälzung - alles möglich ist. Das Ergebnis ist Deerhoofs "Barock goes DIY"-LP, die von der Band selbst produziert wurde und mit nur nur zwei Gitarren, Bass, Schlagzeug und Gesang auskommt. Dabei nutzen Satomi Matsuzaki, Ed Rodriguez, John Dieterich und Greg Saunier ihren Witz und ihre Skurrilität, um eine neue gemeinsame Sprache der Revolution zu erschaffen. Eine, die von lyrischen Labyrinthen und thrashigen Melodien angetrieben wird. Das Album markiert außerdem Deerhoofs Rückkehr zu biblischen Referenzen, wie man sie von ihren früheren bahnbrechenden Noise-Rock-Werken kennt. Während das gefeierte "Future Teenage Cave Artists" märchenhafte Visionen der Post-Apokalypse und den Anti-Helden als Retter der Menschheit erforschte, schlägt die Band auf "Actually, You Can" optimistischere Töne an.

Part of the Optic Sevens 3.0 Reissue Series.
“Take the Skinheads Bowling” The signature song of Camper Van Beethoven. Taken from their 1985 album Telephone Free Landslide Victory.
Their classic debut single became an indie top 10 hit and featured in John Peel's festive 50. On it’s release it picked up substantial airplay and is still played frequently on radio shows across the globe.
Later covered by Teenage Fanclub & Manic Street Preachers and featured in the Michael Moore film ‘Bowling For Columbine’

Ross Sinclair is a drummer, guitarist and founding member of The Soup
Dragons. In the early 1990s Sinclair left the group to complete his studies at
the Glasgow School Of Art.
Ross Sinclair is best known for his Real Life project, initiated in 1994 when he
had the words ‘Real Life’ tattooed across his back. Since then Real Life has become a 23-year performance project, taking form in a wide range of exhibitions, public art and publication contexts. Over the two decades of the Real Life
project, Sinclair’s work has employed various mediums including performance,
painting and music, often at the same time.
Through installation and audience participation Real Life has sought to challenge the conventional exhibition practice and connect with the public. These
projects have been exhibited worldwide. Throughout the course of the project,
a consistent thread of Sinclair’s work has sought to address the nature of the
individual, collective and national identities of Scotland.
During August 2015, Sinclair exhibited his work in 20 Years of Real Life at Edinburgh’s Collective Gallery which celebrated 20 years of his Real Life project.
Sinclair worked with teenagers to create 5 bands and produce an LP titled Free
Instruments for Teenagers. Real Life is Dead/Long Live Real Life The most recent incarnation of the Real Life project came as part of a two-week residency
Ross Sinclair undertook at the Shanghai Himalayas Museum in China, ahead of
his solo exhibition titled Real Life is Dead/Long Live Real Life.
This exhibition served to herald a new phase of Sinclair’s on-going Real Life project. For the exhibition Sinclair added the text ‘Is Dead’ to the ‘Real Life’ tattoo.
The residency focused on the consistent themes of participation, performance
and collaboration, coupled with Sinclair’s use of music in his art throughout his
career. Sinclair worked with students at the GSOA over a period of two years to
develop and record two songs (Real Life is Dead and Long Live Real Life) which
lay at the core of the exhibition. The songs were recorded in both English and
Chinese.
In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra - a musical dialogue between the
Chinese audience and Sinclair’s Real Life Project. The group came together in
a collective voice, in English and Chinese, to share experiences through music.
The orchestra presented a live performance at the opening reception of the
Phase Three exhibition of CURRENT: Contemporary Art from Scotland, which
provided the soundtrack to Sinclair’s installation consisting of multiple editions
of banners and videos representing the 23-years of the Real Life project. Participants were also invited to respond to the themes of Real Life is Dead/Long
Live Real Life with words and pictures which were displayed on banners and
placards.

Danny George Wilson (Bennett Wilson Poole, Danny & The Champions Of The World, Grand Drive) unveils a radically surprising new solo album Another Place to a world coming up for air. Celebrating the future returning with a vibrant and diverse collection of startling, impressionistic songs produced in tandem with Sussex-based, studio-wizard Hamish Benjamin and his frequent collaborator Henry Garratt, helped along by pedal steel maestro Iain Sloan (Peter Bruntnell, Wynntown Marshals), and with memorable guest appearances from Emma Swift (Blonde On The Tracks), Gerry Love (Teenage Fanclub), and Jeff Tweedy (Wilco).

Das brandneue Studioalbum des brasilianisch-dänischen Garage-Rock-Duos! The Courettes präsentieren stolz ihr drittes Album, Back In Mono. Es ist ein Meilenstein in ihrer bisherigen Karriere. "Spit 'n'Snarl Garage Rumble-meets-Phil Spector Pop", der die Band in Bestform zeigt - großartiges Songwriting, Spector-esque Arrangements, mit weiteren Nuancen, Einflüssen und Produktionsqualitäten, die ihr Garagenrock-Rezept ergänzen. Vierzehn wagnerianische Teenie-Tragödien-Meisterwerke - es ist, als wären The Ronettes und The Ramones zu einer wilden Party in die Echokammer der Gold Star Studios eingeladen worden. Fuzz-Gitarren, laute Drums, trashige Pianos, Jingle Bells, Tamburine und dreiminütige Dancefloor-Garagenkiller, bei denen eine Wall of Sound die Songs aus den Lautsprechern schmettert! Produziert und aufgenommen von Soren Christensen in den Starr Sound Recording Studios in Dänemark und abgemischt vom Top-Produzenten und Wall of Sound-Liebhaber Seiki Sato in Japan.

The 2nd tasty release in our series ‘The Swedish Hard Rock Underground - A
Smorgasbord of Heavy Sounds!’ with the best, but previously unknown and
undocumented jaw dropping Swedish hard rock/heavy psych bands from the
totally stoned 1970s.
Let us introduce you to the tale of this unique heavy band from southern Sweden. The fierce dudes that earned the moniker: ‘Northern Europe’s most violent band!’ from their wild live shows.
The band recorded and released two private press singles in 1975 and 1976 respectively. Both were done in micro pressings of 100 copies each making them
very rare and sought after. We follow the band from their first incarnation as a
killer heavy power trio and then expanding in to a massive 5-piece powerhouse
and until the military draft put an end to their teenage hard rock dreams

So here is the deal.... in 2002, THE VAPIDS teamed up with GORD “LAZY LEGS” LEWIS (Teenage Head guitar player) and recorded the entire “self titled” TEENAGE HEAD record from 1979........The thing is, THE VAPIDS practically RE-WROTE every song! Some are surely recognizable, but most are not.... Originally released on CD only on DOUBLE HELL RECORDS, it sold out within a year. Available now on vinyl in 3 different colours... “You take today, I’ll take tomorrow “ – Jimmy Vapid

"Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the sound world of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’"

"Ever try to escape your bedroom, but feel like you're still asleep? Ever try to wake up, but find yourself back in the dream? Ever try to take off your mask, but another one pops up beneath it? Ever try to consult your inner self, but inside your skin is merely a rotting corpse? Ever feel like every path you take is just another mobius strip leading you back to where you first began? Congratulations, welcome to the Psychocastle." – Taraka

Since the breakup of the legendary underground cult duo Prince Rama, former frontwoman Taraka has thrown herself headlong into the dark existential world of her “inner teenager," merging bastard elements of outsider-psych, post-edenic grunge, kaleidoscopic punk and post-adolescent angst to create her debut solo album.

After 10 years from its origial release RADIO DAYS' 1st EP "Midnight Cemetery Rendezvous" is finally available again for the 1st time on vinyl! The records includes also all the tracks from their previous 7"s and an exclusive track!

Originally out on CD only on the legendary 1+2 label from Tokyo, this is the first ever vinyl issue for the Australian-adopted Japanese punk band Mach Pelican. Ripped jeans, leather jackets, 14 short and sharp 3 chords tunes. PunkRock to the bone! Featuring the single "Dance in Chicago" and a cover of The Queers’ classic "Ursula Finally Has Tits". Cover art by Ray Ahn from the Hard Ons. Double-sided lyrics insert included. Limited to 300 only, on yellow vinyl!

Repress

Following up on his contribution to the first Five Years Of Tears compilation, Randstad steps up to the bill and delivers his first solo release for Pinkman Records. 6 tracks ranging from twisted industrialized beat trax to brain melting weirdo dance. A great cross-over record for adventurous DJs and fans of the cold, minimal DIY sound of the 80s alike.

Take One is the cinematic debut release from the minds of Hampshire born emcee Deeflux and seminal producer Kraze. Created through a chaotic and turbulent life journey, the project was born out of the collective need to change direction musically by both artists.
The results are an accomplished and often brutally honest prose, overlaid across a wide range of soundscapes sca-ling the spectrum of alternative rap music. Themed around cinema, each track tells a story like a window into the ar-tists lives covering a range of topics and emotions with Deeflux’s trademark labyrinthine wordplay weaving effortlessly over Kraze’s diverse production.
The LP, originally intended as a mixtape and picked up and pressed by Broke Records was fraught with tragedy. From faulty metal work, lost livelihoods and the eventual loss of all stock it sadly never saw the proposed release until now. Certain Sound received a phone call out of the blue after the stock was
re discovered and have re packaged with the full intended “Directors Cut” as downloadable content in a limited run of coloured and heavy weight black vinyl.
Take your seats and enjoy the show! Artist Bio - Deeflux
Deeflux comes from a diverse musical background. After falling in love with heavy metal at 6 years old he spent his early years as a song writer and guitarist in ska, punk and metal bands before re discovering hip-hop in college where he used the college computers to start his journey beat making.
Finding his voice at 18 he began to craft his style. Influenced by his home town stable of graffiti writers, MCs and beatmakers. he went from working with Reklews (BLAH) to collaborating worldwide on projects such as Oddio Kin.
He has a number of physical releases with his group C O R N E R S (Deeflux, Beit Nun and Benny Diction), live group Natural Selection and last year released 52 singles with his long running DJ Miracle (Boot Records).

Kraze is somewhat of a musical prodigy. In his early teens he was at the epicentre of the first wave of grime and Began DJing on pirate radio & producing music. He eventually landed an artist development deal with EMI & later Sony/ATV.
He was responsible for Devlin’s standout London City and earned two cuts on
his Bud, Sweat and Beers album. During his time with EMI & Sony, he worked with producers such as Naughty-boy, Mojam & Stargate and a variety of artists before eventually leaving the industry to pursue other opportuni-ties. Take One will be his first solo release.

‘Little Eden’ glows with vintage McCartney-esque couplets before rolling out a chiming signature riff on ‘As I Lay Down To Die’ and adopting Jimi-like phrasing on ‘And Away We Go’.

A psychedelically-hewn panoramic take on brutalism Britain punctuated with pure pop melodies and beautifully-observed English melancholy.

This is an album that rekindles your love of music – from the harmonies that are oh-so Teenage Fanclub and Lemonheads, to the grunge and awe of Dinosaur Jr.
There’s perspective and retrospective tale-spinning where we wait “for the wonderful world to come” (©‘Start Burning’), an imaginary future soundtracked by the spirit of Arthur Lee, brought into focus with witty wordplay on songs that are littered with spine tingling guitar breaks.
A brand new album from national treasures The Bevis Frond.

“A cult favourite.” Pitchfork

Just what you want from “the E17 psych guru.” MOJO

“Harking back to the liberating songcraft of The Beatles, but with a jagged edge.” Classic Rock

“Still mixing pop, punk and psych to giddy effect.” The Guardian

American indie rock band The Virgins released their self-titled debut full-length album in 2008 through Atlantic Records. A couple of songs were taken from their previously released EP, The Virgins ‘07, including breakthrough hit “Rich Girls”. A lot of songs from this album were used in prominent tv shows, films and commercials. “Rich Girls” was featured in 17 Again, Castle, and Gossip Girl, with the latter also featuring the songs “One Week of Danger”, “Fernando Pando”, “Radio Christiane” and “Love Is Colder Than Death”. “Hey Hey Girl” was also heard in The Vampire Diaries. It’s no surprise that the songs were so popular in the media, as their catchy dance punk yielded positive reviews from music critics.

Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

Within Melbourne’s burgeoning cinematic-soul scene, which includes
breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit
The Pro-Teens.
Helmed by prolific drummer and percussionist Hudson Whitlock, who also
plays in both aforementioned bands, this breakaway studio project involves an
interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as “’Dead Honest’ Dean
Amazing” and “Libby Clique-Baite”.
Symbolically led by keyboardist “Snooch Dodd”, new album ‘I Flip My Life Every
Time I Fly’ is the latest musical concoction from Whitlock’s eccentric brain,
marrying the soul/funk roots of sample culture with the principles of boombap hip hop.
Incorporating the colourful comic book stylings of MF DOOM and Kool Keith,
or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The ProTeens also take cues from their composing heroes Galt MacDermot, Richard
Evans and Marc Moulin.
The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an
unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.
The Pro-Teens work on the same analogue recording model adopted by the
tight-knit College Of Knowledge label, self-recorded and produced with the ragtag crew of musicians putting tracks down live to tape in crammed attic studios
and sharehouse recording spaces.
The first limited pressing of ‘I Flip My Life Every Time I Fly’ was released on the
‘College Of Knowledge’ imprint in late 2020. It was one of the highlights of the
year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to
have bagged those limited first copies.

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.
Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor. “To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

"The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards."
English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.
For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.”

Re-mastering by: Kevin Gray

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. Born in 1934 in Houston, Texas, Horace came from a musical family centered around his mother, Mary Malone Tapscott, who worked professionally as a singer and pianist. When Horace was nine, the family moved to Los Angeles. As a teenager in the late 1940's, Horace was surrounded by the music of Central Avenue: Art Tatum, Charlie Parker, Coleman Hawkins, Dexter Gordon, were among the many cats on the set. Around this time, Horace also began to take music lessons from teachers Dr. Samuel R. Browne and Lloyd Reese, whose other students included Eric Dolphy and Frank Morgan. Horace's musical studies included trombone in addition to piano.

In 1952, Horace graduated from Jefferson High, got married to Cecilia Payne and went into the Air Force. Horace played in an Air Force Band while he was stationed in Wyoming for his term of duty. After mustering out, he returned to Los Angeles where he worked around on various gigs until he joined the Lionel Hampton Big Band as a trombonist.

In 1959, Horace finally went with the Hampton Big Band to New York, where his friend Eric Dolphy introduced him to John Coltrane. A tough winter, a lack of gigs, and too many nights on the floor of a friend's art gallery finally sent Horace packing for sunny Southern California, where a life with wife and family awaited his return.

The sixties saw Horace emerge as a die-hard leader of the Avant Garde. Horace began to gain public notice playing with his own group, that included alto saxophonist Arthur Blythe, bassist David Bryant, and drummer Everett Brown II. Horace also appeared on records for the first time.

Horace was always outspoken about racism, politics, stereotypes, and social ethics. His forward-minded vocal presence on and off the microphone is as much a part of his art as his piano playing. As a result, he was labeled a "dissident," categorized as an "employment risk," and black-listed from the music industry establishment in the early 1970's. None of this slowed Horace down. He began gigging sporadically at Parks and Recreation events and for churches around Watts. This "dark period," with his only regular gig at his friend Doug Weston's Troubadour on Los Angeles' "Restaurant Row", was also a time of intense creativity.

Around 1977, Horace reorganized the Pan-Afrikan Peoples Arkestra with the help of several old friends and many new faces. The Arkestra performances involve singing, dancing, and poetry in addition to the music. Soon after the new group's debut, Horace came to the attention of producer Tom Albach who contracted Horace to record a number of albums for Nimbus Records. Albach also helped introduce Horace to an international audience by arranging several European tours.

The 80's saw Horace emerge as one of jazz's premiere solo pianists. He recorded several solo piano albums for Nimbus.

Maisie Peters treated fans to their first taste of ‘You Signed Up For This’ earlier this year with ‘John Hughes Movie’. The track soared to No. 1 on iTunes the weekend of release, was playlisted across BBC Radio 1 and 2, and has been streamed over 11.5 million times globally to date.

Revered for her songwriting, Maisie has spent the past three years honing her craft in sessions across London, LA and Nashville, creating songs for ‘You Signed Up For This’ alongside the likes of Ed Sheeran, Steve Mac, Fred again.., Johnny McDaid, Miranda Cooper, and producers Joe Rubel (Tom Grennan, Benjamin Francis Leftwich), Afterhrs (Niall Horan, GRACEY), Rob Milton (Easy Life, Holly Humberstone) and Brad Ellis (Jorja Smith, Little Mix).

Impressively, ‘You Signed Up For This’ is Maisie’s second full length release in the space of three months, as she recently became one of the youngest musicians in history to write and curate a soundtrack for the second season of Apple TV+ Original Series, ‘Trying’, at only 20 years old. Written in just two months last winter, the stunning body of work includes duets with her friends and favourites, including Griff, James Bay and Bear’s Den.

With her knack for transforming everyday experiences in to vividly written diary-style songs, ‘You Signed Up For This’ is both Maisie’s coming of age story and a love letter to girlhood; penned with the wit, charm and quiet confidence that has seen her ascend from busking on the streets of Brighton, to recently making her US TV debut on The Late Late Show with James Corden. Transporting us directly in to her world as she navigates from small town teenager to adulthood, there’s a universal sense of familiarity and nostalgia as she shares memories of blossoming relationships (‘Outdoor Pool’, ‘My Elvis Song’), being played (‘Boys’, ‘Volcano’), heartbreak (‘Tough Act’, ‘Villain’), and first holidays with her twin sister (‘Brooklyn’).

American folk rock band America released their fifth studio album Hearts on March 19, 1975. Like its predecessor Holiday, the album was produced by acclaimed Beatles producer George Martin.

Hearts was an instant hit in the United States, reaching number 4 on the Billboard album chart and receiving a gold certification. Lead single “Sister Golden Hair” reached number one on the Billboard singles chart and remains one of the band’s biggest hits to date. “Daisy Jane” and “Woman Tonight” were released as the second and third single respectively.

Fun fact: the album cover was designed by Phil Hartman, who eventually left graphic design to pursue acting and went on to become a writer and main cast member on Saturday Night Live.

For this release Ellende was a core of three original members plus a guest musician. The album was recorded between May to August 2020 in Cape Town, Johannesburg, Tokyo, and London. The release contains a twelve page booklet with artwork by Richard Hart. The autobiographical text in English and Afrikaans is of a trip taken to Cape Town in the mid 1970’s where two teenage cousins are confronted with the consequences of their shared family history.
The music can be described as ambient; the sounds are multilayered, often a bit dusty and slow moving. Some of the tracks sound like they have been recorded on old tapes giving the whole album a nostalgic atmosphere. Often a piano acts as the leitmotif, there is plenty of droning and throughout the tracks bits of texts from old French movies float in and out. Most of the music is made with vintage analogue synthesisers such as the Arp Solina, Prophet 5, ARP Solus, Juno 6. Most of the piano’s, Rhodes and Wurlizters are from the late 70’s as well. All the tracks have been recorded on tape, often played back on half speed. Mastering again was done by Rafael Irissari, whose own ambient work we greatly admire.

Unintentional Consequences is the second part of a trilogy of which Ellende’s previous release the double 10” album Odyssey, A Sentimental Journey from 2019 was part one.

This is the story of two sisters who nurtured a dream for half a century and never let it die. Vicki and Ronni Gossett launched their musical career as teenagers in Whittier, California in 1966. They called themselves the Female Species. Members came and went; their base of operations moved to Las Vegas, back to LA, and over to Nashville. Along the way their sound transformed from garage rock to lounge to country pop, the only constant being an innate mastery of hooks and harmony.



These ladies had it. Along the way, they crossed paths with The Carpenters, Paul Revere & The Raiders, The Judds, and seemingly half of the industry’s power players, rebuffing all untoward advances, focused always on their craft. In the 1980s they became staff songwriters for music publishing companies in the hit-making business. Relentless pushing landed them a once in a lifetime audition before the court of RCA’s top executives — the kind of new talent showcase that almost never happens after 30.

Vicki and Ronni were by then in their 40s. Tale of My Lost Love is the whole story from beginning to end of two sisters who gave everything to their dream, yet never made a single record... until now. Sometimes great music just isn’t enough to break through — until it is. Numero Group is thrilled and proud, at long last, to introduce Female Species.