Buscar:the audience

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Stripped down versions of tracks from Flicker. “On my debut solo album The View From Halfway Down I did all of my promotion via Zoom and pre-recorded interviews and acoustic sessions,” explains Andy of the EP. “I enjoyed making the acoustic versions and decided to do some more for this album.” “‘Something Like Love’ is the most popular song from Flicker and one of the oldest, starting life in the ’90s. It’s probably the only one that dates back to the Ride era. "The riffs for ‘World Of Echo’ were written while I was on tour with Oasis, at the height of my La’s obsession. It went through a few iterations from then onwards, but never had a final melody until last year. ‘She Calls The Tune’ was the first song I wrote after I joined Oasis, ending a period of writers’ block which I had started going through some time in 1999. The very first performance of it was to an audience of Liam Gallagher, Gem Archer and Richard Ashcroft in a Milan hotel room. No pressure! I don’t think I ever saw this as an Oasis song, but I have them to thank for the fact that I was able to write songs again at all.” ‘Lifeline’ was another riff I came up with while on tour with Oasis. I remember being on a UK tour with Shack, and sitting around backstage on acoustics with Mick and John Head jamming around the Simon & Garfunkel version of ‘Scarborough Fair’. The riff for ‘Lifeline’ followed soon after. It was always called ‘Lifeline’ but I never found the right lyric for it until recently. A1 Something Like Love A2 World Of Echo B1 She Calls The Tune B2 Lifeline

Thirty-five years since the release of their landmark debut album This Is The Story, and 34 since the release of Sunshine On Leith, the second album that made them international stars, The Proclaimers are back with their 12th studio album. And, at the ripe young age of 60, the fire and ire of Craig and Charlie Reid remain righteously undimmed. Dentures Out is a record of the times, for the times, the twins at their political, observational, satirical and fist-punchingly tuneful best.
Dentures Out is 13 songs clocking in at a lean, tight, focused 34 minutes. Only one number, the closing What The Audience Knew, busts the 180-second mark. The rest are sub-three-minute miniatures of polemical pop perfection, recorded at Rockfield in Wales in three quick weeks in spring 2022, lent six-string wings by guest guitarist James Dean Bradfield and produced by Dave Eringa (Manic Street Preachers), his third consecutive album with the Scotsmen.

More than 50 million records sold, LP productions in Hungarian, German
and English, tours and festival appearances throughout Europe and
Japan, at least 50 cover versions or adaptations of the world hit
"Gyanngyhaj li ny" - Omega are Hungary's number one rock export
In 2022, the band will be celebrating its 60th stage anniversary, making it one of
the longest-serving rock formations in the world. On St. Nicholas Day, December
06, 2021, singer and founding member J nos K bor passed away due to the
coronavirus. Now the Omega albums from the well- known and successful
Bacillus era will be rereleased originally and completely on vinyl. After a few trips
into symphonic and psychedelic rock realms, Omega presented themselves on €
III € , released at the end of 1974, again more down to earth: Nine crisp hard rock
tracks, only one exceeding the four-minute mark. For this album, Peter Hauke, still
producer, and Omega not only used current material, but also included songs that
had already been recorded on the Hungarian original from 1969: "Stormy Fire" and
"Spanish Guitar". In order to attract a broader audience, the songs had been pared
down, instrumental soloing was reduced. Although Omega had always flirted with
progressive stylistic means since their turn to psychedelic rock in 1969, this time
they kept their hands off intricate arrangements. Instead, they turned towards the
zeitgeist by including rather blunt rock tunes like "Stormy Fire", "Go On The Spree"
and "Fancy Jeep" in the list, which could also please a glam rock fan and
passionate consumer of single hits by bands like The Sweet and Slade.

In celebration of legendary prog-rock band Emerson, Lake & Palmer’s 50th anniversary, BMG are releasing ‘Black Moon’ as a limited edition Picture Disc vinyl.

Formed in 1970, Emerson, Lake & Palmer were torchbearers of the progressive rock sound and one of rock’s first super-groups. The world-conquering, stadium-filling prog giants helped to broaden the audience for the genre from hundreds of thousands into tens of millions and were one the most commercially successful rock bands of the 1970s.

Their first 7 album releases all made the U.K. albums chart top 10 and U.S. top 20. Black Moon is ELP’s eighth studio album. It was released in 1992 when the band re-formed after 14 years, having split-up after their previous album, ‘Love Beach’ in 1978, and represents a real return to form.

The music is a stripped-down, amped-up, more mainstream rock format, though in many places retaining the feel of their 70s prog epics. Expertly re-mastered in 2017 by celebrated rock studio engineer Andy Pearce.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

"Have you ever had this endless feeling of unconditional love for someone or music, between virtuality and reality, which seems to be eternal for your own heart... " — Nicolas Masseyeff French DJ and producer Nicolas Masseyeff shares his first album in almost a decade on Marc Romboy’s label Systematic. The release brims with lush tones, electronica-flecked rhythms and rich soundscapes, suitable for a club-based audience and home listening. Celebrated visual artist Yann Masseyeff—Nicolas’s brother—is responsible for the artwork of the release.
Raised on the French Riviera, Nicolas Masseyeff started out as a local record dealer before purchasing his own shop, Limelight, establishing it as the most respected vinyl haunt in the South of France. Pursuing music production full-time since the late noughties allowed Nicolas to follow his true path, shaping him into the multi-genre artist he is today. Having released on Herzblut Recordings, Systematic, KD Music, Mobilee and several other esteemed imprints, Nicolas has worked relentlessly to craft a sound that transcends house, electronica, downtempo and afro house. Collaborations with Kittin, Oxia and Parallelle wind throughout his back catalogue, as well as remixes for Frankyeffe, Pig&Dan, Nikola Gala, Hot Since 82 and many more besides.
Endless offers an insight into Nicolas’ spiralling world, detailing the artist’s lithe production skills and consideration when collaborating with other talents, like the interdisciplinary singer Kittin. The collection sums up where Nicolas is at now in his career—a storied producer who continues to evolve, sharing an aesthetic rich in melody while retaining a dance-driven flavour. It’s the kind of sound that comes with years of practice, patience and perseverance.

“Toisten Todellisuus” compiles two 7”s by Helsinki, Finland’s YLEISET SYYT: their self-titled EP, originally released in 2019, and 2021’s “Umpikujamekanismi”. Despite members playing in well-known underground Finnish bands like KOHTI TUHOA and FORESEEN, YLEISET SYYT has flown under the radar in the Anglophone world, with only a small fraction of their records’ tiny pressings making it outside Finland. Fortunately for you, the hardcore fanatics at Sorry State and La Vida Es Un Mus have our ears to the ground, and we agreed that a band this killer deserves a much wider audience. YLEISET SYYT’s sound is both blistering and anthemic, moving nimbly from full-throttle rippers like “Hygieeninen Ruumis” to tracks like “Hyväntekijä” and “Luovan Keskiluokan Takapihalla,” whose big chorus hooks could have anchored a Riot City or No Future A-side. The combination of ferocious performances and songwriting chops might remind you of older Finnish bands like LAMA, MELLAKKA, and APPENDIX, but MINOR THREAT, THE FIX, and NECROS are equally apt comparisons. If you like your early 80s-style hardcore tightly-wound, razor-sharp, and bristling with hooks, you’re gonna love “Toisten Todellisuus” as much as we do (Daniel Lupton) Side A recorded in Helsinki, February 2019. Side B recorded in Helsinki, March 2021. Recorded, mixed and mastered by Ville Valavuo. Artwork by Fetal Brain. Genre: Alternative / Punk

Roanoke seamlessly blend a 70s aesthetic with modern sensibility by
delving into a mystic rock core - For 8 years, these elements have
persisted in their music, evolving as the band has risen through the ranks
of the independent rock scene
Mysticism is a primary component to the band's foundation and not only in their
lyrical themes - the band's live shows bring their spirituality and mysticism all to
fruition. Roanoke has grown into a road- tested outfit, retaining an affinity for
raising energy and rich vocal harmony. Their live shows have won over audiences
since the band first started touring 6 years ago.Pressed on Clear Pink Color vinyl.

The Isley Brothers “Knowledge is power. I’m a witness to that. Our parents wanted us to have a complete musical education. They exposed us to everything, classical to country, standards, show tunes.” Ronald Isley, Mojo Magazine, 2000 The Isley Brothers have delighted audiences since the 1950’s and are celebrating their eighth decade in show business. Morphing from their roots in gospel and doo-wop through funk, rock and then, finally, into slow-jam R&B, the Isley Brothers remain one of the most fascinating groups of all time.
This album contains some of the most life-affirming music ever recorded: Ronald Isley’s keening yelp offering strength and sensitivity as it is supported by brothers Rudolph and O’Kelly. Our collection picks up their story in 1969. By this time, they had been recording for 12 years for many legendary labels, from RCA, to Atlantic, to Motown.
The brothers decided to go it alone on their own label, T-Neck. The repurposed Isleys broke onto the scene with the US R&B No.1/Hot 100 No. 2, ‘It’s Your Thing’. The album of the same name was a Top 30 smash and the group’s decision was vindicated. ‘It’s Your Thing’ marked a meeting point of influences: Sly Stone, James Brown, gospel and one-time group member Jimi Hendrix, laying the template for the Isleys’ next decade, from the gritty rock covers of Givin’ It Back to the era-defining ‘3 + 3’ (with the formal addition of the two younger Isleys, Ernie and Marvin, plus brother-in-law Chris Jasper).
After the 1972 release of ‘Brother, Brother, Brother’ (featuring the classic ‘Work To Do’) T-Neck moved to CBS leading to their first Platinum-selling album (1973’s ‘3+3’). Produced with Malcolm Cecil and Robert Margouleff, ‘3+3’ was practically prescribed to every soul boy in the UK (witness Wham’s cover of ‘If You Were There’). For the Isleys to take their old R&B hit, ‘Who’s That Lady’ and turn it into hard-rocking psychedelic soul was a blazing statement of their
intent. Their version of Seals and Croft’s pretty ‘Summer Breeze’ became one of their biggest hits, with Ronald and Ernie stamping their authority on the ballad. A period of phenomenal success followed. For every standout ballad (‘For The Love Of You’, or ‘The Highways Of My Life’), there was strident, take-no-prisoners political funk - as typified by ‘Fight The Power’, a US R&B No. 1 in 1975.
It was written by Ernie on the same day as another of their greatest moments, ‘Harvest For The World’.
This collection is a beautiful overview to the group, a most fabulous re-introduction to old friends. This era is affectionately known by the Isleys as the ‘gold and platinum years’ - one listen and you will understand why.

ONE OF THE BIGGEST JUNGLE TRACKS OF ALL TIME GETS NEW REMIXES & A PICTURE DISC!

Does this track need any introduction? Since the original release on London’s Dee Jay Recordings way back in 1995 Babylon is one of those rare tracks that doesn’t seem to date.

Andy C, founder of the iconic Ram Records & arguably the worlds most in demand drum & bass DJ, sighted Babylon as one of his favourite ever D&B tracks. The track still regularly features in his
sets some 27 years after its initial release!!

Over the years this genre defining track has been reworked by some of the scenes all-time greats; Dillinja, Trace, Bladerunner, DJ SS & Ray Keith, the latter two names featuring on this visually
stunning repressing with carefully remastered inclusions of their versions.

The success of this track made Splash aka Undercover Agent one of the most sought-after names in jungle / drum & bass and was the launchpad from which he instigated his own Juice & Splash label imprints.

The artwork for this picture disc has been reproduced with kind permission from the original Dee Jay Recording sleeve artwork for Babylon and proudly features both the Dee Jay Recordings and Juice Recordings logos.

Alongside those very high value classic Ray Keith & DJ SS remixes come two brand new remixes!

Ego Trippin, is both a popular DJ on today’s D&B circuit, and under previous guises was one of the original artist signings to the Juice / Splash labels… Who better to breathe new life into this classic track? This 2022 Remix brings all the flavours of the original & injects a new energy for today’s audiences.

Deadly Silence is a new artist head hunted by Splash himself and entrusted to bring a new take on his legacy music, providing yet another exclusive unreleased version to this incredible package.

This picture disc is extremely limited. We’re expecting this to sell out as soon as it goes on sale. Act fast to be one of the few to own this exquisite collector’s item.

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

In its October ‘58 issue, the title carried by Jazz Hot magazine was: »Revelation at the Chat Qui Pêche. The spirit of jazz (which some thought was dying) is sparkling with life in the Donald Byrd Quintet.« And indeed, on its first appearance at the Cannes Festival in July (the Jazz Festival, not the other one), the Donald Byrd Quintet brought the house down. Its members were hardly the Who’s Who of jazz, however. People vaguely knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins had played bass with them, and that pianist Walter Davis Jr. had been with Charlie Parker before he was 19. As for Art Taylor, if he’d already enjoyed a career longer than that of his colleagues, it hadn’t yet brought him recognition beyond a small circle of cognoscenti. Only Bobby Jaspar – who’d shone at the Club St. Germain – was famous with the Parisian audience. At the beginning of 1956, he’d decided to try his luck in the United States; J.J. Johnson had hired him, and then Miles Davis (for a brief spell) before Donald Byrd brought him into his own group. After appearing in Cannes (in the sun) and Knokke-le-Zoute (a much smaller audience) for almost three months, the Donald Byrd Quintet settled down for the autumn in one of the capital’s top jazz spots, the Chat Qui Pêche on the Rue de la Huchette. »In that tiny room,« wrote Frank Ténot, »where the owner used to bump into the soloists by accident when she was serving her customers, the music they played was hot, and always surprising.« To crown a tour that had been extremely satisfying for everyone, a concert at the Olympia theatre was organised (there were gigs there called “Jazz Wednesdays”). Byrd and Co. took things very seriously, even though they preserved the relaxed approach that their (relatively) long association now permitted: "La Marseillaise", and "And The Angels Sing" are both present in the introduction to Parisian Thoroughfare played by the two horns. The latter then went on to imitate other horns, those of the cars on 52nd Street ... However, when it came to "Stardust", it was with all the seriousness in the world, almost in meditation in fact, that Donald Byrd improvised over the backing provided by just Walter Davis Jr. and Doug Watkins. Bobby Jaspar, of course, was marvellous. If he showed a marked obedience to Sonny Rollins, he still preserved, intact, the virtues of sobriety that prevented him falling into the trap of serving up torrents of notes in pieces taken at a rapid tempo ("At This Time", for example). During the exchanges on "Formidable", you’d be forgiven for saying that he gets the better of Donald Byrd. As for the complicity that reigned between the members of the rhythm section, it gave the formation a homogenous character that was very rare in a quintet. One can’t thank François Postif enough for taking the risk to release this concert at the time. Now, almost half a century later, one

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

Recorded October 22, 1958, Olympia hall, Paris.
Original LP issue: Brunswick 87 903.

“They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…
Text – Alain Tercinet

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

If you're among the legions of Widespread Panic fans, you already know
that the band is legendary for never playing the same show twice or the
same song the same way twice - What makes this performance that
much more special is the inspiring presence of founding member
Michael Houser (whose nickname Panic inspired the band's name), who
died of pancreatic cancer less than two years later
As much as anything, this is a celebration of Houser's life and the sheer joy he
brought to a band that became one of the biggest draws on the international
concert circuit and created a vibe that makes the Panic experience unique in the
pop rock world.
But anybody who knows anything about them knows that Widespread Panic is so
much more than just a jam-happy rock band. From the time Houser and John Bell
(JB) began playing duets around Athens, Georgia, in the early 80's, their repertoire
ranged from early covers of the Grateful Dead and Bob Marley to a host of
original songs (among them Space Wrangler , included here) that demonstrate, as
The Village Voice wrote, a willingness to dip their collective toe into just about any
genre. This is classic Widespread Panic, including David Schools on bass, John
Hermann on keys, Todd Nance on drums and Domingo Ortiz on percussion.
One look at this show and it'll quickly become obvious there was something
strange going on in the house that night. Yes, it was Halloween, 2000, and the
rabid fans went beyond even their usual hard-core delirium. This was one time the
audience almost threatened to steal the show!
-Terry Lickona (Producer Austin City Limits).

MATTERS UNKNOWN is the new project led by multi-instrumentalist and
composer Jonny Enser.We Aren't Just is the debut album from MATTERS
UNKNOWN – Jonny Enser from Nubiyan Twist's solo project
Over 14 tracks, it travels through Afro- jazz, celestial blues, soulful funk,
electronica, hip hop referencing influences such as Mulatu Astatke, Pat Thomas
and Tony Allen all of whom he has worked with via Nubiyan Twist.This album
features some of the UK's finest young players including members of Nerija, Noya
Rao, Golden Mean and COLECTIVA. For fans ofJazz is Dead and Emma- Jean
Thackray. Every track on the album is inspired by a facet of Jonny's personal
development; drawing from his relationship to the city, whether in the delta
regions of the Mississippi river or along London's arterial Thames. The album is a
material testament to the flexibility inherent to MATTERS UNKNOWN; it can be
orchestrated to accommodate a 15-strong orchestra, replete with a string section
to move you to the dancefloor as Jazz originally intended, or stripped down to the
bare bones of a trumpet and tuba- led quartet whose intentions remain all the
same; to pierce into the audience's soul.
Jonny is honest, often laying bare his personal plights with his physical disability
and mental health, and the steep – yet rewarding – uphill climb as a musician and
Jazz instrumentalist. We Aren't Just is a multi- faceted study of the self, one's
relationship with the external world; the material, and the living within the inert.

Hailing from the North West of England, XENTRIX was formed in 1985 by guitar player Chris Astley. After numerous changes to the line up XENTRIX signed to Roadrunner records and entered the studio to record their first album 'Shattered Existence' with producer John Cuniberti (Vio-lence, Forbidden, Joe Satriani). XENTRIX were one of the leading lights of the British thrash metal movement. They had music videos which all had regular air time on MTV’s Headbangers Ball. Gaining global notoriety, XENTRIX had many high energy performances with audiences of thousands. XENTRIX released their comeback album 'Bury the Pain’ in 2019 with production from Andy Sneap and Mastering by Russ Russell, this new recording showed the band sounding heavier than ever, while still retaining their signature sound. “Seven Words” is the 7th studio release from UK Thrash outfit Xentrix and is a crushing compendium of all that has made this band what it is today. New tracks such as “Reckless with a smile”, “Anything But The Truth”, “The Alter Of Nothing”, “Everybody Loves You When You're Dead”, and the title track “Seven Words” will take their rightful place next to the Xentrix classics. Xentrix’s guitarist Kristian Havard Comments: “This LP is the culmination of the last 2 years of us experimenting and trying new ideas. It feels like a big step forward for the band, but without stepping away from our Thrash Metal past and I can’t wait for people to hear it.” Recorded in the UK at Backstage studios in Derbyshire and Viscon studios in Lancashire, the album was mixed & mastered by Andy Sneap (Judas Priest, Exodus, Megadeth) and returning to create the cover artwork was Dan Goldsworthy (Accept, Corpsegrinder, Alestorm).