Buscar:the right now

Limited purple coloured vinyl. First time reissued, includes the original cover artwork. Out of print in any format for 30 years. Most of us likely missed MUDHONEY’s ‘Five Dollar Bob’s Mock Cooter Stew’ when it first cratered here on Earth in late 1993, but we can ALL learn from our previous mistakes RIGHT NOW!!! Out of print in any physical format for 30 years (!), here is their Reprise mini-LP for all to devour in real-time and roll in its naked glory. Initially recorded by the band as an offering for their fans to devour while they were between full-length albums, the majority of ‘Five Dollar’ was recorded in one short, inspired burst on August 1, 1993, between the hours of 9:30 and 10:15 PM (with friend and Fastback Kur(d)t Bloch egging them on from the production booth). They smashed this out in just 45 minutes. It might be the band at their most ‘Stooge-esque’ since there is no flowery imagery; nothing to misinterpret; just in-your-face blunt despair (in that department, Black Flag’s ‘Damaged’ LP comes to mind, especially in Mudhoney’s gleefully punishing highlight: ‘No Song III’). Within two seconds of any of these songs hitting your mind (maybe even within one second), you knew it could only be Mudhoney. You can instantly recognize it, because they truly own it/you/the universe. Track listing: 1 In The Blood 2 No Song III 3 Between Me & You Kid 4 Six Two One 5 Make It Now Again 6 Deception Pass 7 Underide

This special vinyl box set contains all four PARTYNEXTDOOR studio albums - including the first album, Partynextdoor, never before issued on vinyl until the release of this completist collection. PARTYNEXTDOOR producer, songwriter and singer from Ontario released his self-titled, critically acclaimed mixtape in July of 2013 led by the singles “Over Here” and “Break From Toronto.” Contributions to “Own It” and “Come Through” on Drake’s Nothing Was the Same album and a deal with OVO Sound followed. He’s since written songs and/or produced cuts for Rihanna, Drake, Nipsey Hussle, Jay Electronica, Post Malone and many more

How sad, if timely: this stunning reissue of the 1994 live album arrived in the very week that trumpeter Masekela passed away. One of the most successful ambassadors ever for African music, his fusing of the continent's rhythms and instruments with contemporary jazz and rock proved irresistible. Nearly every one of you has heard him, thanks to guess spots with The Byrds and Paul Simon. His breakthough hit from 1968 — the infectious "Grazing In The Grass" — is here, along with another 11 tracks recorded at Blues Alley, the U.S. club that gave us Eva Cassidy. Notably, despite its early-1990s origins, this is all-analogue." — Sound Quality = 90% - Ken Kessler, HiFi News, May 2018

"...Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." - Wayne Garcia, The Absolute Sound, August 2008

"...The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact." - John Henry, Audiophile Audition

What more can be captured from the masterpiece that the late trumpet great Hugh Masekela left devoted fans, the effervescent Hope. Now cut at 45 RPM and spread over four 200-gram premium LPs, you're about to discover the answer to that question. The eight sides of vinyl reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. And this set is plated and pressed at Quality Record Pressings, Acoustic Sounds' own industry-lauded LP manufacturer. Virtually silent surfaces coupled with sharp delineation of musical detail are QRP pressing hallmarks.

Two Stoughton Printing old-style tip-on gatefold jackets house the four LPs, which are contained in a custom-designed slipcase reproducing the original artwork.

A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound — WOW!

Unlike a prior 45 RPM version that included seven songs, this 45 RPM reissue contains the full program as originally recorded with all 12 tracks included! Plus, as an added bonus, we've included a special insert — featuring an exclusive interview with Grammy/Emmy Award-winning engineer David Hewitt, who recorded Hope originally.

"Hugh's record is right up near the top for a lot of reasons," Hewitt says.

Hewitt and his team were afforded the time they needed, and they pulled out all the stops to pull off what's now recognized as an all-time great recording. They used better-quality microphones, they were mic-ing the room for ambient sound, and Masekela was performing for a sophisticated and appreciative audience.

"We used stuff from our stash of mics as opposed to what you'd find typically at a jazz club. We actually had control via the record label and producers, so we could take our time. We had the ability to mic the room for abient sound. ... you've got people that actually know and appreciate the music and respond accordingly. What you've got there is all the right stuff at the right time and the right people, and then something magical happens."

Listen to that magic unfold — put on this Analogue Productions 45 RPM 4LP reissue of Hope, and be transported.

Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart — a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four No. 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive No. 1 singles — an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground — especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.


Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180g 33RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.

In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano — an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations — benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.

Issued just two years after Houston's breakthrough debut, Whitney immediately signalled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston — captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello — whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners — and which set the standard for the wave after wave of divas that followed in her footsteps.

It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)." Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems — a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing — a task made challenging only because of the impossible-to-ignore hooks and grooves — showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.

That she replicates those feats for the entirety of the nearly 53-minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.

Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harbouring four No. 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day." The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic: "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11."


That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper – and one of the key reasons Houston is the most-awarded female artist of all time.

Songwriter Ron Stassens assembled a team of musicians in 1977 in anticipation of local side the Portland Trailblazers taking an NBA championship title. Milton Davis was the chosen front man and the music made got regional plays but not more so the band went their separate ways. But not before recording the album that is now presented here via Albina Music Trust. It is a funk work of the highest order with six super tight grooves all laden with percussion, disco energy and big vocals. These will all do plenty of damage in the right setting and remind why Davis is such a cult figure.

Das aktuelle Album der legendären US-Alternative/Indie Formation um Jeff Tweedy nun auch als Vinyl-Edition erhältlich.

Schon früh, als sie aus Uncle Tupelo hervorgingen, gab es die Idee, dass Wilco eine Country-Band sei, oder zumindest eine alternative Country-Band. Und es gibt Beweise dafür - "in allem, was wir je gemacht haben, gab es Elemente von Country-Musik", sagt Jeff Tweedy.
"Wir haben uns nie besonders wohl dabei gefühlt, diese Definition zu akzeptieren, die Idee, dass ich Country-Musik mache. Aber jetzt, nachdem wir ein paar Mal um den Block gegangen sind, finden wir es aufregend, uns innerhalb der Form zu befreien und die einfache Einschränkung zu akzeptieren, die Musik, die wir machen, Country zu nennen."
Cruel Country besteht fast vollständig aus Live-Aufnahmen, mit nur wenigen Overdubs. Alle - Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Pat Sansone und Nels Cline - waren im Raum und spielten zusammen im The Loft in Chicago, ungetrennt durch Schalldämpfer.

Es ist eine völlig andere Art, Platten zu machen, die Wilco seit Jahren nicht mehr verwendet hat - vielleicht nicht mehr seit Sky Blue Sky.

'The Outer Limits' is the seventh studio album released by Canadian heavy metal legends Voivod. It was issued via Mechanic/MCA Records in 1993. The album features a cover of "The Nile Song", originally by the British progressive rock band Pink Floyd, and Voivod's longest song "Jack Luminous", tracking in at 17 minutes and 26 seconds. When originally issued, the CD came with a miniature pair of 3D glasses in order to view the booklet art. The text in the upper right corner of the album cover reads "Number 8" to represent that it is actually the band's eighth album release overall following the compilation The Best of Voivod. 'The Outer Limits' was the final album to feature vocalist Denis Bélanger until his 2002 return. It was also Voivod's first album without original bassist Blacky, who had left the band before the release of the critically acclaimed but commercially unsuccessful 1991 album Angel Rat. Uncomfortable with the idea of bringing in an immediate replacement for Blacky, Voivod opted to have session musician Pierre St-Jean play bass guitar for the recording of the album. (Text by Wikipedia) The album has become one of the band’s ultimate classic albums and is still very much considered today as one of their very best albums by the fans. VOIVOD : ’The Outer Limits’ is now available in vinyl format with 3D graphic design and including 3D glasses for the very first time. First pressing is in white vinyl, Grab it now while you can !.

Incredible jazz / prog / folk score to groundbreaking tattoo film by maverick filmmaker. Unreleased until now, so don’t go saying it’s a reissue because it isn’t, but I’m sure some people will because they always do.

John Samson (1946 - 2004) was a truly great documentary maker. He must be as I’ve been obsessed with his work for many years. Educated first at Glasgow School Of Art (circa 1963) and then finally in the art of film making at The National Film And Television School in Beaconsfield - he headed there in its opening year of 1971 having made a short film that got him a scholarship.

It was at the NFTS that Samson met Mike Wallington, who was to become his right hand man and eventual producer; together as a quite brilliant team they made a handful of inspiring, entertaining and hugely prescient films about important, overlooked, unseen and marginal fringes in society. Tattoo (1975) Exploring the rather clandestine world of tattooing in the UK. Dressing For Pleasure (1977) Exploring the rather clandestine world of festish in the UK. Brittania (1979) A film about railway enthusiasts and a steam train restoration.

Arrows (1979) The life of dart player Eric Bristow. Drag Ball (1981) An unreleased film about the annual Porchester Hall Drag Ball. The Skin Horse (1983) BAFTA winning film about The Outsiders Club, a dating agency for disabled people. The subject matter in all films was always unusual for the time, and Samson managed to navigate his way with compassion, interest and subtlety, immersing himself in the chosen scene and producing moving, fascinating and sometimes darkly amusing situations. His documentaries also do not rely on traditional voiceovers, with stories, facts and narrative threads being dictated by the subjects.

I’ve tried for a long time to find the music for a couple of his early films (there was actually an original 7” for Arrows) - so far this is the only unreleased soundtrack I have found. This one was written by Steve Jolliffe, who met Samson at the NFTS. Joliffe was the resident composer and had a room at the college complex where he could work on scores for the fledgling film makers. Jolliffe was and still is a multi-instrumentalist and prolific composer who had met Edgar Froese at the Berlin Konservatorium in the late 1960s and played in an early incarnation of Tangerine Dream. He toured with blues rock outfit Steamhammer, before hanging out at the NFTS, making this recording (and many others) and eventually rejoining Tangerine Dream in the late 1970s. Jolliffe still writes, records and releases today and once i had made contact with him we traced the original Tattoo master tape to a box at his brother’s house. Musically it’s charming, slightly folky, a touch baroque, there’s a whiff of prog too, and it perfectly suited this early documentary about the art and desire of tattoos. I only wish it was longer. But the film is only 16 minutes long. Seek it out if you can. Try and find all the Samson films, they really are a joy.

As well as featuring intimate footage of tattooed people, the film also includes a rare and very early interview with Alan Oversby (better known as Mr Sebastian), a seminal character in the development of tattoos and body modifications worldwide - it was he who eventually was to tattoo and pierce Genesis P-Orridge.

The images for this vinyl release were all found in Mike Wallington’s Tattoo documentary research folder from 1974, and were photos sent in to Mike and John by people who wanted to feature in the film. Most answered an advert in Time Out, and others included people from my home town of Aldershot where tattooist Bill Skuse and his wife, Rusty (the most tattooed woman in Britain at the time, and featured in the film) were based. His parlour was situated at the back of the arcade where we all used to lose all our pocket money in the slot machines.
The Musicians:
Steve Jolliffe - keyboards, flute, sax Geoff Jolliffe - bass guitar Julian Furniss - guitar Mick Kirby - drums

Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

MIZMOR, is a one-man heavy music exploration that began in 2012 as a
way of dealing with the mental and spiritual anguish mastermind A L N
feels as a person
More specifically, the content behind the project is that of the existential - primal
and innate musings about cause, purpose, self, and god. It is the search for light
and truth, or the fact that there is none. It comes from an embittered, burned,
confused, and broken heart. It is the fight for survival when reason and
foundation has turned to nothingness. It is the crashing down of towers of
falsehood and the freedom that comes through a certain kind of grief. Ultimately,
MIZMOR is the manifestation of my long-felt depression, and neither have an end
in sight.
In A.L.N.'s own words behind the new MIZMOR album "Prosaic":
"The idea behind "Prosaic" was to make an intentionally less conceptual, more
slice- of- life record. I wanted to make an album that was less precious and
obsessed-over, more honest and real; less grandiose and more human. I found it
an interesting challenge to find the line between 'you can do better' and 'you're
beating a dead horse.' I tried to make my process more efficient and even fun at
times. I simply wanted to share, but if that meant exacting all-out perfectionism, I
wasn't going to make a record. Right now I'm interested in making less selfindulgent music. The themes are the absurdity/futility/purpose/meaning of work,
mindfulness/ consciousness/ living in the present moment/ shedding illusions,
depression/ acceptance/ contentment. This is the first MIZMOR album without
any content relating to god/atheism. You also won't hear any shrieks."

For the 15th release of Self Reflektion we have the talented Rove Ranger from Stuttgart Germany. Ever since he surfaced in 2020 he has been delivering nothing but greatness; a fresh approach on Techno while maintaining that 90s vibe. Purpose Research EP is a selection of four peak time club techno tracks from the man - one of the most promising and cutting-edge techno producers around right now. Highly essential!

Pressed On Clear Vinyl! 'We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.' So reads CL Smooth's album dedication in the liners to Pete Rock & CL's underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992's Mecca & The Soul Brother and the album's emotional smash single 'They Reminisce Over You (T.R.O.Y.).' Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature - yet still righteous - wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo's '90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock's pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout. The lead single, 'I Got A Love,' is a perfect example of the group's '94 steez: a super-catchy and respectful, but far-from-soft love track, suitable for any rap fan's romantic needs. 'Take You There' and 'Carmel City' cover similar ground. Considering CL Smooth's top-level brag rapper status, cuts like 'I Get Physical,' 'Get On The Mic' and 'Check It Out' effectively reminded competitors not to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo) on the cloudy day soul of 'Escape,' alongside other cuts. Add more pensive lyrical forays like 'All The Places,' 'Searching,' and - perhaps the album's sleeper cut - 'It's On You' and you have one of the more complete rap full-lengths of the mid-1990s. This isn't surprising, considering the wonder twins-esque skills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer.

















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Rolling up on Leipzig’s finest disco emporium, Riotvan, Mexican sensations Kalexis and Paulor make their debut with a fresh four track selection on their ‘In Between’ EP.

Well, ok. Not strictly a debut. Our Mexico maestro, Paulor, did feature on the third instalment of our Familiar Faces series back in 2020, and now he’s back, as one half of our new cosmic couple. As resident DJ of the legendary Futuro Primitivo he has soundtracked the nights for so many and showcased his own music on Life And Death, DGTL, Kompakt and more.

Partner-in-shine, Kalexis. A supreme selector. Deadly behind the decks and an artist who finally cut her production teeth with 2021’s ’Neptune Rising’, now readies her latest work… Right here on Riotvan.

The pair ease us in with the beatless opener ‘Going Through The Void’, before hitting us square in the chest with the growling stomp of ‘Energy’. On the flip they entice with the electrified folk feels of ‘Lashes’, before the rotor-blade drone of ‘Magnetic’ closes the EP.

An incredible 45 of Latin disco – recorded in Peru during the late 70s by funk pioneers Black Sugar, and right up there with the best from New York and LA of that era! It’s taken over four decades 'Baila' to become a winner spin at international events in the soul and disco scenes, a sought-after collector's item and, above all, the dancefloor hit that should have always been. First time reissue. Black Sugar is a Peruvian band, considered a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Word is that Sono Radio, home to a bunch of local Tamla MoTown releases for the Peruvian market, thought that Black Sugar's prestige, and their credibility in the new orientation towards disco sound, would benefit from seeing their new single pressed with the labels of the famous record company from Detroit. And so it was. Under certain lights and shadows, ‘Baila’ was finally released in Peru only in 1978, sporting the same look as the releases of the likes of Marvin Gaye, Diana Ross, Commodores or Thelma Houston. A clever marketing ploy that however failed in boosting the sales of the single…Only a few original copies have survived to this day, of either the first and the second edition from 1979 released on the US label Libra, and reached the collectors market. It’s now, over four decades later, when the interest on this recording has gone stronger and ‘Baila’ is getting regular spins at international soul/disco scene events, having become a very sought-after collectors item and, on top of that, the dance floor anthem that should have always been. The stunning piano arrangements of the intro, the outstanding brass sections —faithfully copied from the disco recordings coming from the States—, a very catchy chorus… ‘Baila’ has all the necessary ingredients to become an addictive invitation to join the dance floor. On the B side, a cover version of Barry White’s hit ‘Sha La La (Means I Love You)’ —as appeared on the original issue of this record— shows what the interest of the band was at the time. First time reissue. TRACKLIST Side A Baila Side B Sha La La (Means I Love You)

Obwohl der Begriff "soul" schon während der Dreißigerjahre in der US-amerikanischen Populärmusik auftauchte, entstand Soul als eigenständiges Genre erst in den 1950ern aus Gospel und Rhythm"n"Blues sowie je einer Prise Blues und Jazz. Schon bald darauf sollte Soul zum Inbegriff "schwarzer Popmusik" werden. Kennzeichnend für die afroamerikanisch geprägte Unterhaltungsmusik sind emotional gefärbte Sangeskünste. Sich mit ganzer Seele und herzergreifendem Gesang den Vibes, dem Groove und der Message hinzugeben, das macht Soul aus. Sängerinnen wie Aretha Franklin, Etta James, Tina Turner, Lavern Baker, Marlena Shaw oder Diana Ross beherrschten dieses Metier meisterhaft. Sie finden sich neben Dionne Warwick, Nina Simone, Dusty Springfield, Irma Thomas, Amy Winehouse, Ibeyi und vielen anderen Künstlerinnen auf der geschmackvoll kompilierten Doppel-LP "Soul Women".

Die Autofenster sind heruntergelassen, die Luft ist warm, und die Möglichkeiten sind grenzenlos. Auf Cut Worms, dem neuen, selbstbetitelten Album des aus Brooklyn stammenden Max Clarke, setzt der Singer-Songwriter und Musiker seine Erkundung dessen fort, was er "Pop-Essentialismus" nennt. Indem er die goldenen Hits vergangener Tage für einen zeitlosen Doppel-A-Seiten-Sound ausgräbt, betrachtet er uralte Fragen durch eine moderne Linse. Hier lässt er das legendäre Studio und die gefragten Produzenten hinter sich und arbeitet mit einer Reihe von begabten Freunden und Kollaborateuren zusammen, um seinen eigenen Ansatz zu finden. Das Ergebnis ist eine kompakte Sammlung von Tagtraum-Hymnen, die zwischen den hoffnungsvollen Anfängen des Sommers und dem flüchtigen Ende der Saison angesiedelt sind. Anstatt das gesamte Album in einem Stück in einem Studio aufzunehmen, variierte Clarke seine Methoden. Drei der Songs wurden von Anfang bis Ende in seinem gemeinsamen Proberaum aufgenommen. "Don't Fade Out" und Living Inside" wurden in Brooklyn von Brian und Michael D'Addario von den Lemon Twigs aufgenommen, die bei diesen beiden Stücken auch Klavier bzw. Bass spielten. Weitere grundlegende Aufnahmen wurden von Rick Spataro (von der Indie-Folk-Band Florist) in seinem Studio Onlyness Analog im Hudson Valley gemacht, mit Beiträgen der langjährigen Live-Band Cut Worms - Keyboarder John Andrews, Bassist Keven Louis Lareau und Schlagzeuger Noah Bond (der bei allen drei Sessions mitwirkte). Die neun Songs sind von einem jugendlichen Geist durchdrungen. Die mit Nelken geschmückte Schulball-Serenade "I'll Never Make It", die sternenklare Verliebtheit von "Is it Magic?", das erste Herbstlaub auf der Busfahrt zur Schule in "Living Inside" - sie alle beschwören einen Ort der Wärme und Sicherheit. Erklärungen wie "Don't Fade Out", "Let's Go Out On The Town" und "Use Your Love" stellen hohe Anforderungen an das Leben, um es zu verändern, bitten aber gleichzeitig darum, das zu bewahren, was uns als Menschen ausmacht. Clarke ringt mit einem Paradoxon: Die Freuden der Erfahrung können nicht ohne den Verlust der Unschuld gewonnen werden.

Die Autofenster sind heruntergelassen, die Luft ist warm, und die Möglichkeiten sind grenzenlos. Auf Cut Worms, dem neuen, selbstbetitelten Album des aus Brooklyn stammenden Max Clarke, setzt der Singer-Songwriter und Musiker seine Erkundung dessen fort, was er "Pop-Essentialismus" nennt. Indem er die goldenen Hits vergangener Tage für einen zeitlosen Doppel-A-Seiten-Sound ausgräbt, betrachtet er uralte Fragen durch eine moderne Linse. Hier lässt er das legendäre Studio und die gefragten Produzenten hinter sich und arbeitet mit einer Reihe von begabten Freunden und Kollaborateuren zusammen, um seinen eigenen Ansatz zu finden. Das Ergebnis ist eine kompakte Sammlung von Tagtraum-Hymnen, die zwischen den hoffnungsvollen Anfängen des Sommers und dem flüchtigen Ende der Saison angesiedelt sind. Anstatt das gesamte Album in einem Stück in einem Studio aufzunehmen, variierte Clarke seine Methoden. Drei der Songs wurden von Anfang bis Ende in seinem gemeinsamen Proberaum aufgenommen. "Don't Fade Out" und Living Inside" wurden in Brooklyn von Brian und Michael D'Addario von den Lemon Twigs aufgenommen, die bei diesen beiden Stücken auch Klavier bzw. Bass spielten. Weitere grundlegende Aufnahmen wurden von Rick Spataro (von der Indie-Folk-Band Florist) in seinem Studio Onlyness Analog im Hudson Valley gemacht, mit Beiträgen der langjährigen Live-Band Cut Worms - Keyboarder John Andrews, Bassist Keven Louis Lareau und Schlagzeuger Noah Bond (der bei allen drei Sessions mitwirkte). Die neun Songs sind von einem jugendlichen Geist durchdrungen. Die mit Nelken geschmückte Schulball-Serenade "I'll Never Make It", die sternenklare Verliebtheit von "Is it Magic?", das erste Herbstlaub auf der Busfahrt zur Schule in "Living Inside" - sie alle beschwören einen Ort der Wärme und Sicherheit. Erklärungen wie "Don't Fade Out", "Let's Go Out On The Town" und "Use Your Love" stellen hohe Anforderungen an das Leben, um es zu verändern, bitten aber gleichzeitig darum, das zu bewahren, was uns als Menschen ausmacht. Clarke ringt mit einem Paradoxon: Die Freuden der Erfahrung können nicht ohne den Verlust der Unschuld gewonnen werden.

Die Autofenster sind heruntergelassen, die Luft ist warm, und die Möglichkeiten sind grenzenlos. Auf Cut Worms, dem neuen, selbstbetitelten Album des aus Brooklyn stammenden Max Clarke, setzt der Singer-Songwriter und Musiker seine Erkundung dessen fort, was er "Pop-Essentialismus" nennt. Indem er die goldenen Hits vergangener Tage für einen zeitlosen Doppel-A-Seiten-Sound ausgräbt, betrachtet er uralte Fragen durch eine moderne Linse. Hier lässt er das legendäre Studio und die gefragten Produzenten hinter sich und arbeitet mit einer Reihe von begabten Freunden und Kollaborateuren zusammen, um seinen eigenen Ansatz zu finden. Das Ergebnis ist eine kompakte Sammlung von Tagtraum-Hymnen, die zwischen den hoffnungsvollen Anfängen des Sommers und dem flüchtigen Ende der Saison angesiedelt sind. Anstatt das gesamte Album in einem Stück in einem Studio aufzunehmen, variierte Clarke seine Methoden. Drei der Songs wurden von Anfang bis Ende in seinem gemeinsamen Proberaum aufgenommen. "Don't Fade Out" und Living Inside" wurden in Brooklyn von Brian und Michael D'Addario von den Lemon Twigs aufgenommen, die bei diesen beiden Stücken auch Klavier bzw. Bass spielten. Weitere grundlegende Aufnahmen wurden von Rick Spataro (von der Indie-Folk-Band Florist) in seinem Studio Onlyness Analog im Hudson Valley gemacht, mit Beiträgen der langjährigen Live-Band Cut Worms - Keyboarder John Andrews, Bassist Keven Louis Lareau und Schlagzeuger Noah Bond (der bei allen drei Sessions mitwirkte). Die neun Songs sind von einem jugendlichen Geist durchdrungen. Die mit Nelken geschmückte Schulball-Serenade "I'll Never Make It", die sternenklare Verliebtheit von "Is it Magic?", das erste Herbstlaub auf der Busfahrt zur Schule in "Living Inside" - sie alle beschwören einen Ort der Wärme und Sicherheit. Erklärungen wie "Don't Fade Out", "Let's Go Out On The Town" und "Use Your Love" stellen hohe Anforderungen an das Leben, um es zu verändern, bitten aber gleichzeitig darum, das zu bewahren, was uns als Menschen ausmacht. Clarke ringt mit einem Paradoxon: Die Freuden der Erfahrung können nicht ohne den Verlust der Unschuld gewonnen werden.

Am 4. November veröffentlicht PJ Harvey eine Sammlung von B-Seiten, Demos und Raritäten.

Die Sammlung beinhaltet 59 Tracks der letzten drei Jahre und wurde von Jason Mitchell zusammen mit dem langjährigen Produzenten von PJ Harvey neu gemastered. Zusätzlich enthält die Sammlung 14 zuvor unveröffentlichte Songs und gibt Fans die Möglichkeit, die bereits veröffentlichten Songs erneut zu genießen.

Zudem zeigt das Artwork bisher unveröffentlichte Archivfotos.

Diese Sammlung ist als 3CD und LP Box Set erhältlich.

In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.