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"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

South American Jazz & Bossanova flavours from 60s & 70s in Liguria, north west Italy. Melody sounds really close to Brazilian Portuguese and instrumental tracks smells of South American Jazz.
Nonetheless, the sound landscape clearly reflects the Italian Library Music of the time. This mingling was made possible by the commercial and cultural interconnections during the discovery of the New World: the local Ligurian language was influenced by new stimuli from the new territories and vice-versa. Moreover, from the end of the Nineteenth Century, a strong migration of Italians involved South America, with numbers comparable to the Italian migration in the USA, but less known because less represented in films or narrative.
As a result of these connections, these songs sound mellow, carioca and exotic, based on the phonetics of one of the most musical, folkloric and peculiar Italian dialects.
The artwork project is a homage to lithographs and ADV that were inspired by the first tourist and migration trips departing from Genoa towards Rio De Janeiro. The lithographs were recovered by “L’Image” an existing art gallery in Alassio, a small town in Liguria.
"Bossa Ligure" can be seen as a micro-genre and a different form and aesthetic of Brazilian music, which is unknown to many, but that we would like to make available with this collectanea. A musical and a
cultural expression which reveals a strong influence and connection to the Brasileiro sound in an unexpected territory.

The second single from the Nicole Willis album Happiness in Every Style opens up the promised spectrum of joy into new ecstatic states. One In A Million is an unapologetic love song, which while connecting to this most traditional mode in soul music, also makes it correct for the dancefloor. Connoisseur terms such as 'crossover' or 'modern soul' might prove to be accurate here, but a membership in the soul scene is not mandatory to get down.

The main thing is that this up-tempo horn-driven groover, propelled by The Soul Investigators (as the usual suspects), should make things move inside, tickling nerves in scenesters as well as the layman, as their breakthrough hit If This Ain't Love did back in the day.

The world and the music business is different for Nicole Willis and the boys from up north. Nevertheless, One In A Million might be the underground hit that nobody saw coming. Or it just as well might not, but this is no excuse for not making quality music. This and more can be anticipated from the new album, dropping on Timmion Records in autumn 2015.

Following releases from label founder Palms Trax, a reissue of eighties Chicago House innovator Rog’e, and a pair of cassette mixtapes from Berlin-based selectors Enchanted Rhythm and Budino, CWPT looks to the North-East of England for its next release, live and direct from REES.

Hot on the heels of a twelve-inch on Bordello A Parigi and underscoring a slowly simmering reputation as one of the brightest stars of his community, REES’s debut on CWPT is a classy and globally informed perspective on house, disco and acid styles.

Undistilled rhythm is at the heart of Rees’s vision of club culture; on title track, Devils Club, it’s effect makes itself known immediately, driving a channel of lively percussion towards a series of tasteful breakdowns that are both propulsive and alluring. On ‘Magic’, a confidently raw, loose drum loop accelerates into a glossy, psychedelic speed-chase that’s pure Miami Vice reimagined in Middlesbrough.

On the flip, two versions of ‘The Spirit’ tastefully expand beyond REES’s musical borders and into warm, cinematic territory, blending tropically tinted instrumentation with (and then without) an entrancing vocal sample.

30th ANNIVERSARY VINYL EDITION OF THE ICONIC 1992 BLACK METAL
CLASSIC FROM DARKTHRONE - PRESENTED ON LIMITED WHITE VINYL
WITH SLEEVE DESIGN REPLICATING THE ORIGINAL PRESSING
'A Blaze In The Northern Sky', Darkthrone's official second album, was originally
released in 1992 & was without question the blueprint for the Black Metal scene,
spearheading the evolution of the early second wave movement in Norway &
beyond. It was hailed on release as an album of true scene- shifting greatness,
following their more death metal focussed debut, 'Soulside Journey'. The rawness
apparent on the album (recorded at Creative Studios, the same location as
Mayhem's legendary Deathcrush was put to tape), was unusual for the time & an
antithesis to the usual metal production values & standards during the period.
With this, Darkthrone's statement of attitude & intent was clear & their status as
masters of Norwegian black metal was set.
This edition of 'A Blaze in the Northern Sky' coincides with the 30th anniversary of
the seminal album's release & is presented on limited white vinyl, with the sleeve
design replicating the original pressing, plus a refresh of the original 1992 audio
master.

30th ANNIVERSARY VINYL EDITION OF THE ICONIC 1992 BLACK METAL
CLASSIC FROM DARKTHRONE - PRESENTED ON LIMITED WHITE VINYL
WITH SLEEVE DESIGN REPLICATING THE ORIGINAL PRESSING
'A Blaze In The Northern Sky', Darkthrone's official second album, was originally
released in 1992 & was without question the blueprint for the Black Metal scene,
spearheading the evolution of the early second wave movement in Norway &
beyond. It was hailed on release as an album of true scene- shifting greatness,
following their more death metal focussed debut, 'Soulside Journey'. The rawness
apparent on the album (recorded at Creative Studios, the same location as
Mayhem's legendary Deathcrush was put to tape), was unusual for the time & an
antithesis to the usual metal production values & standards during the period.
With this, Darkthrone's statement of attitude & intent was clear & their status as
masters of Norwegian black metal was set.
This edition of 'A Blaze in the Northern Sky' coincides with the 30th anniversary of
the seminal album's release & is presented on limited white vinyl, with the sleeve
design replicating the original pressing, plus a refresh of the original 1992 audio
master.

Japanese experimental group Les Rallizes Denudes are the ultimate rock ‘n’ roll enigma. Sometimes referred to as Hadaka no Rallizes or even as Hadaka no Rarizu, each appellation a variant of the name “Fucked Up and Naked” which equates to being high on hard drugs, they are seen as noise-rock pioneers, yet sifting fact from fiction isn’t easy with their oddball tale. Emerging from the radical hippie communes of Kyoto during the late 1960s, the band was formed in November 1967 by university student Takashi Mizutani, taking the overamplified, distorted guitar of the Velvet Underground as a starting point. Early demo recordings apparently suffered from poor sound quality, leading the perfectionist Mizutani to retreat from the studio environment, meaning that most of the group’s output has appeared as live bootlegs, with the occasional studio demo surfacing as well. Performances were initially staged as part of avant-garde theatre, though the band’s propensity for super-loud noise soon put paid to such collaboration; the ever-changing membership saw Mizutani the only permanent force, despite his embroilment in the 1970 Red Army hijacking of a civilian Japan Airlines flight, enacted partly through bass player, Moriaki Wakabayashi, who defected to North Korea in its aftermath. Though perhaps not quite as notorious, fellow improvisational group, Taj Mahal Travellers, has a backstory of random international travels that is almost as intriguing as that of Les Rallizes; formed in 1969 by six experimental musicians and an electronic engineer, they embarked on a series of improvisational gigs across Japan, notably including an all-day marathon held at a Kanagawa beach, and made their way to Europe in 1971, where they crossed paths with Don Cherry and other likeminded practitioners. They later drove from Holland to the Pakistan border, acquiring santoors in Iran on the way to help broaden their already unpredictable repertoire. The Oz Days Live release is culled from the Oz Last Days festival held in the autumn of 1973, to benefit Tokyo’s Oz Rock Café, which had been closed following repeated drug busts. Here the Taj Mahal Travellers are suitably cosmic, their echoing jams featuring looped vocal chants, disjointed string instruments and sparse, off-kilter percussion; in contrast, the contributions from Les Rallizes are more standard examples of instrumental psychedelic rock, which veers more towards the acid rock end of the spectrum as the performance progresses.

Oslo-based American-Norwegian trio Buster Sledge releases their first
studio album Call Home in May 2022, following up on their self-recorded
and self-released debut Spirit (2020)
Fiddle, banjo, guitar and three voices are the vehicle for lyrical storytelling against
an orchestral background anchored in the acoustic music traditions of the United
States. Hailing from northern California, lead vocalist and songwriter Michael
Barrett Donovan mixes themes from personal experience with folk and country
music archetypes to breathe new life into time-tested song structures. Banjoist
Mikael Jonassen and guitarist Jakob Folke Ossum both share a thorough
appreciation for the fundamentals of bluegrass music, clear melodies and
harmony- singing through the lens of being trained jazz musicians. In eleven
tracks, Call Home tips its hat to artists such as Norman Blake, The Punch
Brothers, Tim O'Brien and John Hartford. Buster Sledge was the first group to
record in the recently relocated Globus Studio of Sjur Lyseid (Little Hands of
Asphalt) and his influence from behind the mixing board pushed the band into a
slightly-augmented acoustic sound with more streamlined arrangements which is
a suiting duet with the album art by William Hay that realizes a scene of a rider
overlooking a large river-valley in impressionistic swaths of color.
Banjoist Mikael Jonassen, from Bodo in the far north, is Norway's first and only
higher-education certified banjo player. Despite beginning with an electric banjo
and playing exclusively fusion jazz, Jonassen currently focuses his efforts on
Scrugg's style acoustic banjo and the playing of Bela Fleck and has taken several
trips to the US to learn from the masters. Jakob Folke Ossum, jazz- guitarist
turned flat- picking aficionado, discovered the sound of acoustic flat- picking
through Tony Rice and Bryan Sutton and meticulously taught himself from
records and videos. Fiddler Michael Barrett Donovan made a living as a musician
in New York City doing a master's in classical composition while touring with a
Grateful Dead tribute band. The three met in a comment section on a bluegrass
forum after Donovan moved to Norway in 2019. The rest of the story you'll have
to ask them at a show sometime. Buster Sledge has been on stage in many small
venues in southern Norway, don't miss them the next time they come to town!

Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim’s seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman. Produced by Tim Bowness and Brian Hulse (Plenty), the album was mixed and mastered by Steven Wilson. Available as Limited 2CD Edition (featuring alternate mixes and bonus material), and a Limited 180g LP + CD edition featuring special die-cut artwork by Carl Glover. Also available as Digital Album.

THE FULL 'GOTHIC EP' PRESENTED ON THE VINYL FORMAT FOR THE
FIRST TIME, CONTAINING A COMBINATION OF SPECIAL REMIXES &
ALTERNATE STUDIO VERSIONS OF PARADISE LOST CLASSICS
Creators, pioneers & purveyors of the whole Gothic Doom Metal scene which
subsequently came to prominence in the early 90's, Britain's Paradise Lost rose
from humble Northern roots to become one of the UK's leading artists in the
metal genre throughout the decade & beyond, remaining as relevant & revered as
ever to this day after a career spanning over three decades. The band's first two
albums were released on Peaceville, in the shape of 1990's influential deathly
debut 'Lost Paradise', followed up by the more atmosphere- focussed genre
classic, 'Gothic' in 1991. 'Gothic EP' was originally released in 1994 & combined
the tracks from the 1990 'In Dub' two track 12" release bookended by alternate
studio remixes from the 'Gothic' studio album. The two tracks which formerly
featured on the studio debut received extensive remixing & all new arrangements
in the shape of 'Rotting Misery (Doom Dub)' & 'Breeding Fear (Demolition Dub)'.
This edition of 'Gothic EP' is presented on black vinyl with design-work from the
original 1994 CD release.

Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”

Mental health, unconventional relationship models, jealousy, failed dating
experiences and the banality and transience of life - these are the central
themes of 'The Absurdity Of Being', a coming-of-age album as if quoted
from a diary, recorded by a street artist in a construction trailer in the
north German countryside
Wydra herself describes her music as 'melancholic stray cat pop', and it sits
somewhere between indie and bedroom pop, comparable to the likes of Courtney
Barnett, Phoebe Bridgers and Chloe Moriondo. The Hamburg- based artist
surprises with '90s sounds, stomping club beats emerging from nowhere and
instruments such as melodica and violin. The opener 'Quality Time' deals with the
dark side of an open relationship and the title track with the banality of human
existence

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

It seems Summer is here in May this year and so does the next DOGHOUSE Summer compilation! A lot of platers to "Gogo" your booty by the pool...Soon available! Sixties rockin' Pop at his best...

"This fabled 11 minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams and Mike Manieri. In anticipation of the monumental forthcoming Natureza album release via Far Out Recordings, this astonishing version of a true classic gets it's first proper 12" release for Record Store Day 2022. In the spirit of making the release special for RSD, rather than make it a single sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side."

After an extended interval between releases, Data Arts Group owner/operator Document Swell (real name Simon Cotter), presents his first full length LP "Hybrid Emotion". Document Swell's first musical contribution to Data Arts Group is also the first vinyl release for the label and brings DAG into the new world of 2022 and beyond. Song-writing, and sound sketches for "Hybrid Emotion" took place over a time span of approximately 5 years in various bedroom studios and life-phases throughout northern Melbourne/Naarm, as well as small setups in the Berlin localities of Templehof and Schöneberg. Arranging and mixing was completed in Northcote, throughout that period of ample time in Melbourne's Covid-19 lockdowns. The album spans a rich tapestry of ideas and moods which can be perceived as something between Document Swell's classic playful dance floor style to a more reflective and brooding tone.

The opening track "River Heart", is built of rudimentary pitched percussion, warm Juno pads and randomised Blofeld synthesis to construct an electronic impression and nostalgic sense of life by the river. The title track "Hybrid Emotion" brings the album closer to the realm of the club with relaxed house grooves and moody but spirited melodies, along with hybridised vocal samples."Why Then Here" pushes the album's character towards something less human, with a more synthetic affection portrayed by repetitive vocal samples and individualistic synth tangents. "Now and Then" realigns the trajectory to a warmer and more predictable landscape with chugging Balearic rhythms, glassy synths and jottings of lush electric guitar. On the flip side, "Day of Thunder" drops things down into an animated variety of industrial darkness, with heavy weight kick drums, metallic percussion and bleak vocal messaging. "Little G", an ode to a well loved cat, lightens things up instantly with playful synth noodlings, disco beats and clatter from pots and pans. "Vergangenheit" exhibits Simon's explorations into the acid world, with 303 squawks, cassette crunched drums and shadowy synth pads. The closing track "Epic Sands" ends the album, not with an end note, but a sense of ongoing possibilities.

Renata Zeiguer's new album 'Picnic in the Dark' - her second full length
with Northern Spy - is a sonic dreamworld infused with magical realism
that tells an extremely personal narrative
It is a culmination of a lifetime of reckoning with her past and her unwavering
resolution to transcend inherited patterns and cycles that have held her back. Coproduced with Sam Griffin Owens (Sam Evian), the twelve songs lead a mystical
conversation between characters within her psyche that all center around this
process, which she whimsically likens to the ritual of having a picnic in the dark.
Integrating her child self into her adult life with immense compassion and
enlightenment, 'Picnic in the Dark' is not only an album of exploration but one of
transformation, healing and self- actualization, all through a courageous journey
towards that extremely uncomfortable yet fertile liminal space between
familiarity and uncertainty.

Leeds art-rock group Mush (Dan Hyndman vocals / guitar, Phil Porter drums,
Nick Grant bass, Myles Kirk guitar) are set to return with album ‘Down Tools’
via Memphis Industries. The new record marks the prolific band’s third album
in as many years, following hype-building early singles ‘Alternative Facts’
and ‘Gig Economy’, 2020’s debut album ‘3D Routine’ and 2021’s acclaimed
‘Lines Redacted’, which pushed their sound further and, as Uncut wrote, saw
them become “kindred spirits to Wand and King Gizzard & The Lizard
Wizard, two other bands prolifically honing their sound and approach,
steadily developing their voice.”
 On ‘Down Tools’, this voice grows again into a more brilliantly singular
sound. It sees Mush getting loose, moving away from the defined moods and
textures of ‘Lines Redacted’ with a musical openness, straddling genres
while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that
“there was a conscious decision to retreat further from an observational
approach” with vocals being ad-libbed lending the record a more abstract
feel. Hyndman continues: “this album is less dark than the previous one. The
Armageddon obsession has eased, or at least the symptoms have become
milder due to saturation. Musically there’s a lot more chill on the record -
there’s a few more mellow tracks out there and the most astute listener may
even be able to decipher some of the words, fingers crossed.”
 While grief and work balance form themes on the record, Hyndman’s
approach is largely made up of abstract, disconnected streams of
consciousness and lines liberally taken from books, paintings, films and
beyond. On ‘Human Resources’, Hyndman dramatically retells a battle he
had with an HR department at a job in a David and Goliath style. The song
‘Group Of Death’, a phrase chillingly familiar to any football fan, is
emblematic of the turn towards softer, more considered sounds. Hyndman
says: “In my warped imagination it just sounds like a Paul McCartney song,
but it won’t to others. I initially had the idea of doing a World Cup song called
‘Group of Death’, but by the time it was written nothing beyond the title had
any relevance to football. Anyway, the next World Cup is in Qatar so fuck
that shit.”
 ‘Northern Safari’, meanwhile, is a song about the way the North of England
has been portrayed in the media and used as a mirror to reflect some of the
nastier elements of what’s going on in society, in particular vox pops around
Doncaster, portraying a particular narrative of the collapse of the red wall and
the disgruntled ex-miners.
 ‘Down Tools’ sees Mush idiosyncratically ping-pong from finger picked
looseners to noise-rock bangers to brilliantly entertaining effect, avoiding
post punk saturation with an easy style and wit.

‘Bye Bye’ is a three-track offering from Philadelphia-based
sextet Blood, that rarely stays put in one style for long.

 All three songs were recorded by the band throughout the
pandemic, providing a uniting force whilst touring remained
impossible.

 The tracks are a testament to the unforgiving and rewarding
process of self-recording. The band found great relief in
finally having the time to flesh out an experimental
atmosphere without the constraint of paid studio time.
 Blood are proud of the work they’ve made, but it is
imperative to mention that all three tracks were brought to life
in a way not formerly thought possible, by the mixing
brilliance of Nancy Conforti.

 ‘Money Worries’ finds Blood slingshotted over an open letter
to their landlord. What starts as a clear threat to an obvious
albeit deserving villain, soon caves into an acoustic respite,
in which the nightmare of financial ruin becomes lullaby.

 Blood began as a solo project of current lead singer Tim
O’Brien in the winter of 2017. After going through several
line-up changes throughout 2018, the current iteration began
making waves in the bijou punk scene of Austin. They were
considered “a live staple in their own prospective scene” and
“one of Austin’s buzziest new acts” by press nationally and
locally.

 After twice touring the US, Blood were poised for a big 2020
when plans were altered drastically by the pandemic. They
then self-released their debut EP, ‘Why Wait Til’ 55, We Might
Not Even Be Alive’, in April of that year.

 In 2021, the sextet made a move to West Philadelphia and
began recording their upcoming release, ‘Bye Bye’, while
also playing shows throughout the North Eastern United
States. At this time, the group live in a seven-bedroom house
with a converted basement for recording and rehearsing.

What does it mean to feel pride - to feel love? Not just romantic
desire, but an all-encompassing love built around acceptance
and unconditional respect? For 24-year-old indie/alternative
artist NoSo, they seek out the answers in their work. The title of
their debut album ‘Stay Proud of Me’ is an entreaty to their past
self, as they dauntlessly forge ahead to become the person and
artist they’ve always wanted to be.
 NoSo is shorthand for North/South: A nod to their Korean
heritage, and the inane origin question (“Which Korea are you
from?”) that so many Korean Americans inevitably face at some
point in their lives. Hwong’s writing often indirectly grapples with
the insecurities and frustrations that can arise from the Asian
American experience.
 Just as there is no singular Asian American experience, there is
no singular LGBTQ experience. Hwong, a queer non-binary
person, remembers that the first time they realized they were
attracted to women was when they wrote a romantic song with
femme pronouns. They don’t remember ever explicitly coming
out in public; from the start, their declaration of themselves to
the world at large has always been through music.
 Support tours with Yumi Zouma, Lucy Dacus and Molly Burch in
the US. First ever London headline show at The Waiting Room
on 20 July, followed by Bluedot Festival 22 July.
 ‘Stay Proud of Me’ will be released on Partisan Records
(IDLES, Fontaines D.C., Laura Marling).

He may not have known it before, but Toronto-born, New York-based
guitarist Matthew Stevens, prized for his forceful, distinctive electric
sound was an ideal candidate to make an album fully devoted to solo
acoustic guitar: the intimate, unadorned, straightforwardly titled
'Pittsburgh'
September 2020, Stevens was hunkering down in his wife's family's hometown of
Pittsburgh, while navigating his way through the crisis. He had with him a vintage
Martin 00-17, a small- body mahogany guitar. Practicing daily on the Martin, he
began generating a series of short song "starts" - ideas and sketches he thought
might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from
under him and he broke his right elbow. Rather than getting derailed musically, he
became immersed in a creative process that led straight to 'Pittsburgh': a
document of those short song "starts" from the notebook, now hatched as
completed compositions. "Playing this music became a big part of my rehab,"
Stevens recalls.
As the album took shape, it became clear to Stevens that he was headed in the
direction of a wholly unaccompanied recital, with no overdubs or sound layering
of any kind. Just him and this special Martin, two Neumann U89 mics and enough
peace of mind across two separate sessions to make 'Pittsburgh' the triumph that
it is.
In addition to his extensive high-profile work with Esperanza Spalding (serving as
co- producer on 'Exposure' and '12 Little Spells'), Stevens is also a member,
songwriter and co-producer of Terri Lyne Carrington's GRAMMY-nominated Social
Science band. He has made vital contributions to groups led by Dave Douglas,
Linda May Han Oh, Christian Scott aTunde Adjuah, Ben Williams and more. With
tenor saxophonist Walter Smith III he co-leads the In Common collective. Stevens
has also amassed many credits beyond the jazz world, collaborating on
forthcoming releases by Anna B Savage, Jamila Woods, Tyler Armes
(Murdagang) and Berlin-based electronic artist Robag Wruhme.

The Entertains were a vocal group from Cleveland Ohio whose line up at different times varied between four to five members. Initially signed to Belkin Productions in Cleveland the group were persuaded by Nick Holiday to move to his Pittsburgh Steel Town Records Label. The group had already been working on two songs penned by C-Way Productions Richard Calloway who had strong links with Cleveland through his work with Jesse Fisher and Lester Johnson at Way Out Records. The two songs in question being “Love Will Turn It Around” and Why Couldn’t I Believe Them”, demo cuts of both songs where touted around to several major labels with 20th Century showing some serious interest, but the owner reputedly turned down 20th Century’s advances and instead chose to release the songs on his own Steel Town Label. Recorded at Jerree’s Studio in New Brighton P.A with the musical arrangements being provided by Don Groton, The Entertains 45 received limited local airplay reputedly due in part to Holiday’s refusal to provide a set of Dining Room furniture for an influential local radio promotion man. Greater radio play was eventually received with “Love Will Turn It Around” gaining air time on WANN, Annapolis Maryland’s largest Black radio station, courtesy of Disc-jockey Charles “Hoppy” Adams. For a time, a popular tune throughout Baltimore, Washington and Delaware without breaking out nationally. Wider appreciation of the Entertains 45 would come from foreign shores as copies of the 45 found their way in the UK. The effervescent dance side of the 45 “Love Will Turn It Around” was heavily championed by Legendary DJ Colin Curtis and became a firm favourite with the dancers within the Highland Room of the Blackpool Mecca and subsequent Northern Soul venues of the time. The Entertains line up on the Steel Town sessions where Donald Rice, Howard Rice (the cousin of Donald) Alfred Wilson and Andrew Wright the lead vocalist on all The Entertains songs. During 1978 Richard Calloway held a second recording session on The Entertains again at Jeree’s Studio’s which yielded a further two songs “I’ll Answer You With Love” and “Your Love I Give It Up” which due to lack of finance at the time of their conception remained in the can. These two songs have now been brought to life through Soul Junction’s licensing deal with C-Way Production’s in the format they originally intended for. The A-side of the release is the emotional charge stepper “I’ll Answer You With Love” with the opening monologue parts been performed by Howard Rice. While the B-side “Your Love I Give It Up” is a punchier up-tempo version of Richie Merrett’s earlier C-Way Records recording “I Gave It Up”, the flipside to “You’ll Always Have Yesterday Standing By” (C-way 103).

In later life Donald Rice would perform with Lonnie Turner Jr a former member of the Detroit groups The Mighty Lovers (Boo-Ga-Loo and Soulhawk) and Innervision (Private Stock and Ariola America) and his daughter Africa Turner in a vocal combo known as The Ambassadors Of Soul, sadly Donald has now passed. It is believed that the other members of The Entertains are still out there performing solo or as members of other different groups.

It's dark in the forest. Especially in the »northwest«. You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you.

Herrmann is far from being unknown in the world of music - let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's ROBERT JOHNSON club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann’s pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002.

With »Enroute« Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest - a quite remote place already in-between the Taunus mountain range. Imagine life during the lockdown in such a place … This is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over »Enroute«. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener »northwest«, »Fly By Wire« or the 11min »Dark Trace« you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create.

There is a change of mood with »Intercontinental« - literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus forest. This is also the place where Herrmann took many photographs of the forest and its trees (to be seen on his Instagram account) - and the picture on the cover: This spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of »Bouncing Rays«.

»Enroute« is done all alone and in total isolation. And one can hear it. But it also invites the listener to be a part of this lonely world. And we all know that being lonely is made easier with someone on your side - »Enroute« to a better place. A place that isn't lonely at all.

PS: For all digital music lovers we have included two bonus tracks: The GLOK remix of »Bouncing Rays« and Herrmann's clattering and creaking tune »Economy« - enjoy!

Vinyl is limited to 500 copies on black vinyl, no download card. Sunzoom have been making a stir from their Liverpool base and this highly anticipated debut is not to be missed. Lo-fi and DIY in equal measure, the record was only conceived of 4 weeks into the first lockdown when songwriter Greg McVeigh decided that recording music was the only way to stay sane. Building a makeshift studio in the kitchen of his North Liverpool home (and deciding to name the new project SUNZOOM after a favourite Captain Beefheart track) Greg set about learning the processes of home recording from the ground up. The album theme draws upon the peculiar aspects of lockdown; isolation, spiritual introspection, longing to be somewhere else, weird dreams, drinking too much and takes the listener on a journey of escape. The songs move the record through fields, countries, time, space, memories and longings to finally end back at home in the reality of the four walls. Digging into some past unreleased recordings, poems, unfinished snippets of tunes and writing new songs (usually sung into his phone during months of daily beach walks with his dog) Greg began to build a record within the claustrophobic environment of summer 2020. Friends were able to collaborate (by the magic of old recordings and new parts sent via email) and in early 2021 Sunzoom entered ARK Recording Studios in Liverpool to add live drums and vocal parts subsequently spending a month mixing the record back home in the familiar surroundings of the kitchen where the concept first began. The result is a snapshot of the period that magically transforms personal and public strife into glorious pop-folk psychedelia.

Otis Spann is widely recognised as one of the greatest blues pianists of all time. Although Spann made a name for himself in Chicago by the mid 1940s, it wasn't until 1960 that he got the opportunity to record an album of his own. Otis Spann Is The Blues is not only the first solo album ever recorded by Otis Spann, it is also the first album ever recorded for the fledgling New York City based Candid Records label. Stripped down to just the two musicians this magnificent set showcases Spann's voice and piano.

Well, sometimes the mountain goes to Mehemet, not the usual other way round. After years spent chasing soul Artists on the other side of the world we managed to find one right here in Rome, at the heart of our beloved boot-shaped peninsula. And boy what an Artist! Just a few bars into "Let You In" and that Warren-G style flavours back to my ears like if it still was a saturday night in 1994 and we were packing 12" and heading to dj at our regular venue up north-east, the Rototom. A few bars in and soon as I hear the chorus it instantly becomes a Tesla Groove release. Like many a true Soul singers, the amazing Fatimah Provillon (a Newark, New Jersey native) started her musical career singing in churches at the early age of eight. She would later hone her singing skills in various choirs where she was both lead vocalist and choir member. As a teen she fell in love with hiphop music and began writing songs and performing in talent shows. As a songwriter she prefers to mix her soul and hiphop roots to speak on topics ranging from heartbreak to consumerism. As a singer, her biggest influences include Gladys Knight, Sade, Patsy Cline, Lauryn Hill, Wu Tang Clan, and Nas. Fatimah is currently living and working in Europe with Rome, Italy, as her base as she tours performing live concerts and collaborating with deejays in house music productions, entering now our catalogue as a true headliner. Enjoy Mrs. Provillon folks, you'll hear her name more and more in the future!

This HOT double-A side features the 70s Torch dancer 'HERE I GO AGAIN' - with it's crashing backbeat and fabulous 'call-to-the-floor' intro. The song was originally released in the USA by Atlantic Records in 1969, to little acclaim at the time, but later spiraled to No.11 in the UK pop charts in 1972 due to demand from the Northern Soul scene. 'TIGHTEN UP' was one of the first songs to be recorded by Archie Bell & The Drells, in Houston, Texas in 1967. The track had originally been developed by the T.S.U. Toronadoes and, coupled with Bell's unique spoken introduction, caught the imagination of the nation earning the band a gold disc and a No.1 R&B and Pop smash. It would become a UK Mod anthem and spawned future club hits care of Willie & The Mighty Magnificents 'Funky 8 Corners' and Frankie Crocker's floor packin' 'Ton Of Dynamite' (also available from Outta Sight, OSV106).

Dead Serious is the debut studio album of American hip hop duo Das EFX, originally released in 1992. Recording sessions for the album took place at Firehouse Studios in Brooklyn, New York and at Charlie Marotta's North Shore Soundworks studio in Long Island, New York.

Dead Serious caused an immediate sensation upon its release. The album was a certified hit, peaking at #16 on the US Billboard 200 chart and topping the R&B/Hip-Hop Albums chart for five weeks. Dead Serious went Platinum on the strength of the singles “Mic Checka” and the Top 40 pop hit “They Want EFX”.

Yaya Bey ist eine der spannendsten Storytellerinnen des R&B. Mit einer Kombination aus den Kräften ihrer Vorfahren und denen ihrer eigenen Selbstverwirklichung navigiert die Singer-Songwriterin nahtlos an den Stolpersteinen des Lebens vorbei und direkt hinein in die freudigen Momente der Musik. Beys neues Album, „Remember Your North Star" fängt diese emotionale Achterbahn mit einer Mischung aus Soul, Jazz, Reggae, Afrobeat und Hiphop ein, die die Seele nährt.

Beys Fähigkeit, die emotional kaleidoskopische Natur von Frauen, insbesondere von schwarzen Frauen, anzuzapfen, ist die Essenz des gesamten Albums. Die von der Kritik gefeierte multidisziplinäre Künstlerin und Kunstkuratorin, die mehrere Kunstresidenzen im Brooklyner MoCADA (Museum of Contemporary African Diasporan Art) absolviert hat, beschäftigt sich mit Themen wie Misogynie, Generationstraumata, sorglose Romantik, elterliche Beziehungen, weibliche Ermächtigung und Selbstliebe. „Remember Your North Star“ setzt Beys persönliche und künstlerische Entwicklung fort, indem sie sich bemüht, ein Resonanzboden für schwarze Frauen überall zu sein. „Ich fühle mich durch die Musik gestärkt, weil ich alles, was mir widerfährt, in etwas Wertvolles verwandeln kann. Musik hilft mir, den Wert dessen zu erkennen, was in meinem Leben passiert.“, erklärt sie. „In der Musik steckt ein Geist. Sie ist eine Kultur, und ich bin Teil dieser Gemeinschaft und trage mit meiner Geschichte dazu bei, dass wir miteinander verbunden bleiben.“

Delayed...

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

Moddi is 34-year-old Pal Moddi Knudsen from Northern Norway,
'Bratebrann' tells the story about a homecoming to a town that he once
knew, but has turned into something unfamiliar
It is in many ways a backlash to Moddi's Norwegian Grammy winning album
"Kaem Va Du?", moving away from the nostalgic narrative of the well- known
Northern Norway.
The theme of the album is the new, emerging Northern Norway, which according
to Moddi has yet to be written about.

The music world is most fortunate that the past two decades have witnessed the rediscovery of mind-opening music that went under-recognized when originally released, and the wellspring of musical content produced by a generation of brilliant musicians. One such musician was the late great drummer Steve Reid, whose reissued eclectic recordings on his own Mustevic Sound label gave his career a second wind.

Though teased on a well-received compilation, one Mustevic release never saw reissue: New Life Trio’s Visions Of The Third Eye, a tremendous collaborative effort between Reid, guitarist Brandon Ross and bassist David Wertman.

Due to overwhelming demand, Early Future Records and Finders Keepers Records are proud to announce a second limited edition pressing of the classic and final Mustevic recording. The release also includes a 20-page written zine featuring an in-depth testimonial and interview with Brandon Ross, and an explorative essay by Finders Keepers’ Andy Votel, as well as a wealth of archival photos, scores and reviews.

Reid’s long and varied career began in his native New York City, where he was involved early on as a member of the Apollo Theater House Band and the R&B scene of the 1960s, including recordings with Martha Reeves and James Brown. In the late 1960s, Reid spent three years in West Africa absorbing musical traditions and experimenting with artists such as Fela Kuti, Guy Warren and Randy Weston. After a stint in prison for dodging the draft as a conscientious objector, the drummer came out swinging in the 1970s. He worked regularly as a session and Broadway musician even while immersing himself into the jazz world, from the straight-ahead styles of Freddie Hubbard and Horace Silver to the otherworldly sounds of Sun Ra and Charles Tyler.

The do-it-yourself ethos of the New York Loft Scene inspired Reid to create his own label, Mustevic Sound, on which he began releasing his own recordings and those of a couple of friends. One of these trusted friends was David Wertman, a young bassist from New York who released his own Kara Suite on Mustevic in 1976.

New Life Trio’s story began when Wertman moved from New York to the more sedate but creatively vibrant town of Northampton, Massachusetts. Here Wertman met Brandon Ross, a young guitarist from New Jersey who had relocated there with his brother to join a coterie of New York expats who had found a comfortable, collaborative environment amidst the liberal college towns in the area, including avant-garde legends Archie Shepp and Marion Brown. Wertman and Ross became friends and began to perform together regularly, both formally and informally.

A string trio of Wertman, Ross and violinist Terry Jenoure was set to record, but Jenoure dropped out just prior to the date. This led Wertman to call his friend Steve Reid to come join the two at the Tin Pan Hollow Studios in Vermont to record what would become Visions Of The Third Eye on December 6, 1978. Originally conceived as an all-acoustic date, the recording would morph slightly when Ross added electric guitar muscle on a number of pieces. Reid would then take the helm and release the recording in 1980, giving a very auspicious birth to what has now become a classic spiritual jazz recording.

Fast forward to 1995…..New Life Trio gets a belated second wind from Stuart Baker’s inclusion of the Ross-voiced “Empty Streets” on his Universal Sounds of America compilation. The brief, haunting lead track just hinted at what the full Visions Of The Third Eye album had to offer. Audience awareness resulted in the pursuit of out-of-print original LPs, thus the rarity of Visions Of The Third Eye led to it becoming a kind of “holy grail” record for collectors of jazz and creative music. The album’s cover image was even incorporated into the cover of Freedom, Rhythm & Sound (SJB, 2009), a wonderful coffee table book presenting album covers from those revolutionary decades in Black creative music. The recording’s legend was cemented.

New Life Trio’s legend continues to grow partly due to the brevity of its existence. The triumvirate of Reid, Ross and Wertman would never work together again. Each member would continue along his own path, finding success in numerous projects. Reid’s career was reinvigorated with the reissue of the bulk of his Mustevic Sound recordings in the early 2000s, which led him to a rewarding partnership with Four Tet’s Kieran Hebden until Reid’s untimely passing in 2010. Wertman balanced life between Florida and Massachusetts as a regular in the local jazz scene, recording numerous projects with his wife, Lynne Meryl, before passing away in 2013. The fantastically creative Ross has remained active in the New York creative music scene with a number of projects, most notably with Henry Threadgill, Cassandra Wilson and Harriet Tubman, a wildly eclectic co-led band with underpinnings of rock, dub and free jazz.

**180g heavyweight vinyl** Les Racines is the latest solo album from the eminent guitarist and songwriter Vieux Farka Touré, and his first for World Circuit Records. Known as the ‘Hendrix of the Sahara’, Vieux has released 4 critically acclaimed solo albums to date, extending the boundaries of traditional West African music into new and uncharted territory. He has also released audacious collaborations with the likes of Dave Matthews and jazz guitarist John Scofield, and albums with American singer-songwriter Julia Easterlin and Israeli singer-songwriter Idan Raichel. With Les Racines, which translates as ‘the roots’, Vieux documents a deep reconnection with the traditional Songhai music of northern Mali which is one of the traditions that has come to be known in the West as ‘Desert Blues’. Vieux’s roots run deeper than deep – he is the son of Ali Farka Touré, widely acclaimed as the finest guitarist Africa has ever produced. Recorded in Bamako in Vieux’s home studio, the timeless grooves of the album are steeped in the traditional music of West Africa. But the fire of Vieux’s guitar playing and the urgency of the messages in his songs add an entirely contemporary relevance. “We are nothing if we abandon respect for the past,” Vieux says. The resulting album, the most profound statement of his career to date, marks out Vieux as the great Ali Farka Touré’s rightful heir and a major artist in his own right. “Early in my career people asked why I wasn’t just following my father. But it was important for me to establish my own identity,” Vieux says. “Now people know what I can do, I can return to those roots with pride and I hope a certain authority.”

"My Life And I", first album from the northern irish artist Kaz Hawkins on
the Dixiefrog's label is a compilation form of her early songs and shows
with strength this unique talent - this edition is a 2LP Set
Her voice is powerful and addictive, very emotional and the compositions are
really catchy. The blues and soul coming from the singer puts her next to the big
names of the genres, reminding us of Etta James and allowing the comparision
with Beth Hart and/or Adele.

Debut album by Goatman, now repressed. A solo project by one of the mysterious members from the Swedish collective GOAT. Recorded in GOAT’s northern Swedish hometown of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.

An appealing blast of West Coast new wave, with good songs played with
blistering intensity
The late 1970s and early 1980s were an explosive and exciting period for
music and the local San Francisco music scene was no exception
Jack Casady had been playing constantly from 1965-1972 as Jefferson Airplane,
continuing on as Hot Tuna on through 1977. Hot Tuna took a bit of a break and
SVT was born of this period, and these recordings represent this period so well.
Brian Marnell, Paul Zahl, Bill Gibson, Nick Buck and Jack Casady made some
exciting and somewhat furious music during this time period, bringing back such
memories of all of their live shows