* The long awaited follow-up to `Dub from the Heart Part 2’ which was released 26 years ago.
Good things come to those who wait.
* A modern venture into raw dub-wise territory with weighty sub bass-lines built for sound system and annoying the neighbours.
* Featuring the voices of Ranking Joe, Jah Mason, Hughie Izachaar and Martin Luther King Jr.
* A dig into the vaults leads us to the lesser-spotted Jah Free, a stalwart of the 90’s dub scene and purveyor of all things musically DIY.
* This is a raw melodica-led instrumental backed with an even rawer bongo-frenzied cut.
* Originally released on the Jah Free Music label in 1993.
* Those were the days when some producers where using cassettes to record on home studios.
* A dig into the vaults leads us to the lesser-spotted Jah Free, a stalwart of the 90’s dub scene and purveyor of all things musically DIY.
* This 12” comprises of slices of `Lightning Clap’, the lead cut being a vocal.
* A dig into the vaults leads us to the lesser-spotted Jah Free, a stalwart of the 90’s dub scene and purveyor of all things musically DIY.
* A vocal cut from Jah Free with a brutal bassline backed with alternative dub mix to the version that was originally released on Zion Train’s Deep Root label in 1998.
To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!
To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!
Audionaut sound adventurer Neil Stringfellow (aka Audio Obscura) makes a welcome return to Subexotic with his many-splendoured mixed media project Acid Field Recordings In Dub. Following years of avid field recording, Neil explains how it came about through a series of epiphanies: "It sort of started after I did a field recording introduction weekend workshop with the legend that is Chris Watson (the BBC wildlife team and ex-Cabaret Voltaire), just in terms of it being very inspirational and meeting like minded people. I've been sound recording for about 12 years now and have a good archive of sounds, and simply enjoy just listening and capturing the world. Since then over the years I've learned to really listen to the everyday soundscapes and as such I no longer walk down the street listening to a personal stereo anymore, the world can often be more exciting than music. A few memories of listening stick out which really helped form this album. I was walking up a hill in Norwich and a street cleaner was coming down pushing his cart, the broom attached to the cart but one end was bouncing up and down in the exact way a snare drum in a Dub reggae record might sound with the dub echo effect.. for a few seconds it was amazing and I stopped and stood still and just savoured the moment but of course did not have a microphone with me. Another time recording the dawn chorus in Lowestoft the chirping birds sounded intense coming from different trees and walking between the trees seemed to make the classic 303 acid squelch sound. part of this is in the middle section of the Babyloniacid track. Another time I was recording in a forest after a storm sitting under thick trees trying to keep the mics dry and the wind blowing the tops of the trees was like a swooshing synth line. I always liked the moments when the soundscapes felt like music and over time had a desire to marry music and field sounds together. Things really came together though when in summer 2022 I had a minor operation and was resting in bed after the operation, high on painkillers feeling quite spaced out. It was in the middle of a heat wave and the nurses had opened the ward windows, it was evening and I could see pink clouds but the sunset was out of view. I'd been listening to the Eno / Harmonia album and after that ended, I put on some Burial. I just lay there watching the clouds and the title Acid Field Recordings In Dub just came into my head... I could hear how the concept should be: made with field recordings, manipulating them and creating ambient soundscapes... dubby beats fractured in places and snatches of the acid 303. This is more or less what I wrote down that day and a few weeks later I started to create it... the process came easy and at first, I thought I'd need to spend some time making new extra field recordings but, to be honest, I has such an archive I pulled most of the sounds from that." Music, electronics & field recording by Neil Stringfellow. Design & mastering by Dan Seville. Test siren on 'Through Nuclear Skies' recorded by Marc Weidenbaum. Melodica on 'Hollowlands' played by Simon McCorry
"Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word 'shred' is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, 'I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.' You may be apprehensive, but you shouldn’t be. Shane happens to be an internationally renowned virtuoso of the guitar. Specifically, he’s the kind of virtuoso who is as deep on style as he is on technique. His technical prowess is almost maddeningly complete; aiming paradoxically for the yards-long target called “breadth” he’s somehow hit all of it, 500 arrows piercing every pore of the landscape. He has that much technique not for the sake of guitar worship but to best bring the music forth clearly and in his own hand, like a pearl formed in a specific sea. I know this because I’ve sat next to him in multiple countries and American states and seen him deliver transmissions of that extreme honesty, with that extreme capability. Like Derek Bailey’s 'Ballads,' this record brings you into the room and the breath of a true musician whose mastery does not overshadow his appreciation of the music that inspired it. The title, 'Repertoire,' underscores the beautiful songs he chose to perform, all standards of 20th century musical excellence. The in-time persistence of his blues-walked 'Lonely Woman.' The grand registral descent he performs on 'Pithecanthropus Erectus,' like a rare document of the trip down from Everest. Dig how 'Better Get Hit in Your Soul,' emphasizes the folk blues water coursing through Mingus’s Ellingtonia, how Aphex Twin’s 'Avril 14' and the Minutemen’s 'Cohesion' sound so much older than Cage’s 'Totem Ancestors.' 'Repertoire' puts forth the idea that time is arrangement: time and arrangement are each only as successful as they are faithful to their origins and expansive in their style. Again, lest you fear the alien smoothness some associate with the concept 'virtuoso,' remember here we’re dealing with a time- traveler. His virtuosity is home grown, born of human work rather than some abstract or divine touch; the aim is not to go beyond the realm of human technical possibility but to expand it in the direction of human, meaning, timely. This guy can play anything, and for you, for this record, which sounds intimate and as present as a transmission from a time-traveler, he chooses to."—Wendy Eisenberg
7A Records are proud to present Davy Jones’ “Incredible!”. A deluxe reissue of Jones' “lost” ‘80s album, remastered and expanded with bonus tracks. The limited edition gatefold Vinyl release is limited to 1,000 copies. Pressed on 180g transparent blue vinyl, it features extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures by photographer Henry Diltz.
Fuelled by MTV’s re-runs of the original Monkees TV series, “Incredible!” was recorded at the height of mid-‘80s Monkees comeback-euphoria. Given the flurry of activity happening on multiple fronts for the Monkees throughout 1986, especially the grueling demands of their touring schedule, the fact that Davy Jones managed to record a full album amid the chaos is somewhat staggering. “Incredible!” features several songs that could well have reached the Billboard charts, had things played out differently. However, Jones decided to hang on to the album and it ended up being self-released on cassette on his own mail order label. The minimalistic promotion and treatment of the original release belie the considerable studio and artist firepower behind these recordings. This deluxe repackaging allows this chapter in Jones’ fascinating journey to finally more fulsomely shine.
• Remastered With 6 Bonus Tracks
• Rare & Previously Unseen Photos
• Extensive Liner Notes
• Limited to 1,000 copies
"ME STATIONS THAT SWING WITH SOULFUL THINGS"
Introducing "W.EN.D Radio," the latest musical masterpiece from the dynamic duo Frank N Dank.Drawing inspiration from their earlier collaboration with the legendary I Dilla on the fictional radio show of the same name, this album is a nostalgic journey for longtime FND enthusiasts.Crafted entirely by the skillful Japanese beatsmith, Mitsu The Beats, the album boasts a stellar lineup of collaborators, including Dj Rhettmatic of the renowned Beatjunkies, soulful British vocalist Harleigh Blu, versatile MC/Singer illa J (J Dilla's brother), and Gram-my-nominated producer/musician King Michael Coy (known for his work with Anderson Paak, H.E.R), among others."W.EN.D Radio" stands as a contemporary homage to the infectious boom bap sound of hip-hop's golden era. Each track is a fusion of rhythmic beats and meaningful narratives, delivering a sonic experience that traverses the spectrum of emotions within a captivating and head-nodding package. This album is poised to captivate J dilla fans with its blend of nostalgia, innovation, and the undeniable skill of its collaborators.
2024 Repress
Coming in hot with the first of three EP’s from WhoMadeWho’s Watergate 26 is two of the standout tracks from the mix. Both tracks come from WhoMadeWho and Artbat, yet with a unique twist each one sees the collaborators exchange creative roles.
Kicking things off Artbat’s edit of WhoMadeWho’s ‘Monsterrat’ is as deep and hypnotic as it is soulful and energetic as traces of Rock harmonize with low slung House and shimmers of Disco resulting in an eternal dance floor weapon.
Flipping sides WhoMadeWho features on Artbat’s ‘Closer’ where we witness the two outfits concoct a dramatic, emotional ride into celestial spaces where sweltering vocals balance delicately on massive bursts of low end and dreamy progressions creating an incredibly tense yet captivating outcome. Indulge in these two timeless cuts until we bring you more soon from the stellar WhoMadeWho Watergate 26. Enjoy!
Contemporary classical composer Sophia Jani and violinist Teresa Allgaier announce their new collaborative work Six Pieces for Solo Violin on Squama Recordings. Characterized by its calmness and poise, each movement focuses on a particular technical aspect, bending the boundaries of the instrument while maintaining the illusion of simplicity.
Sometimes the most complicated thing anyone can do is to try to create something that feels uncomplicated. Arvo Pärt, ballet, a delicious meal we didn’t cook ourselves, Ella Fitzgerald, a safe place to lay our heads at night, a quiet pine forest – … In all these things, it takes a lot of effort to make us feel as if something is effortless.
– David Lang (from the liner notes)
Atmosphere, die vielen als eines der beständigsten und produktivsten Duos im Independent-Hip-Hop gelten, erreichten zwischen Juli 2007 und April 2008 einen selbst für ihre Verhältnisse außergewöhnlichen Output. Innerhalb dieser 9 Monate veröffentlichten sie ein komplettes Album, vier EPs und ein 42-minütiges Mixtape mit exklusivem Material, insgesamt 48 neue Songs, und das alles, während sie ständig auf Tournee waren. Diese rasante Veröffentlichungsreihe brachte einige ihrer bis dato populärsten Songs hervor und zeigte ihre dynamische Bandbreite, von stimmungsvoll und nachdenklich über fröhlich und optimistisch bis hin zu einem Boom-Bap-Rap-Stil, der auf dem Mixtape am deutlichsten zu hören war. Das am Weihnachtstag 2007 veröffentlichte Mixtape war ein "Geschenk" an die Fans in Form eines kostenlosen Downloads mit dem treffenden Titel „Strictly Leakage“ - eine Anspielung sowohl auf die Abkehr von den standardisierten Praktiken der Industrie zugunsten des Verschenkens der Musik als auch auf einen anderen prominenten Albumtitel aus der Ära. „Strictly Leakage“ überraschte Fans und Kritiker gleichermaßen, nicht nur, weil die Einladung zum Download ohne Vorwarnung im Posteingang auftauchte, sondern auch, weil das Projekt so einzigartig anders klang als die typischen Aufnahmen von Atmosphere. Ant griff tief in die Funk- und Soulkiste, zog Samples der Live-Instrumentierung vor und produzierte Tracks, die klangen, als seien sie neben Hip-Hop-Klassikern der späten 80er und frühen 90er Jahre entstanden. Slug rappte mit neuer Leidenschaft und klang dabei irgendwie lässiger und unbekümmerter und lieferte endlose Wortspiele mit technischeren Reimschemata als bei anderen Atmosphere-Veröffentlichungen. Gemeinsam schufen sie 13 exklusive Songs, die so klangen, als hätten sie einfach nur Spaß daran, sie zu machen, ohne den Druck irgendwelcher Album-Erwartungen - zweifellos eine ebenso lohnende Übung für sie selbst wie für die Hörer. Zu Beginn wurde „Strictly Leakage“ in einer limitierten Auflage auf Vinyl und CD gepresst, aber es dauerte nicht lange, bis sie ausverkauft waren und die Fans sich auf die Jagd nach Streams und digitalen Dateien machen mussten, um das Projekt zu hören. Nun ist „Strictly Leakage“ auf Vinyl-LP und CD zurück und wird für den Handel verfügbar gemacht, damit Hip-Hop Fans überall dieses einzigartige Kapitel in der Geschichte von Atmosphere besitzen und schätzen können.
Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.
Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.
Y2K prepper-rock for the underemployed. Tracked at home in 1999, the 1975 EP expands on Stratosphere's slacker-positive dreamscape, with layers of guitars both clean and fuzzy, humming organ, and_gasp!_a drum machine. Needle down, candles on.
From a Decade Hiatus To A Musical Uppercut Like They Never Left Round 1, The Newest Ant Farm Installation Flexes Moments Of InTricate Metal All The Way To haunting acoustic ballads that might make Ray Lamontagne shiver and back again.
If you're an Alien Ant Farm fan true and true, you won't be disappointed, and if you're just a visitor from another planet, we hope you enjoyed your extra terrestrial visit
Though their album was cut in two days over the course of 2 eight hour sessions their arrangements shine through what was a scattered recording session. "We really worked hard in the studio even though we didn't have enough time to do all the things we wanted to do with music," bassist Robb Murphy remembers. "We were pretty excited. We just had no experience with that sort of thing. We had heard things but never had any experience.
We were really babes in the woods. It was a terrific experience looking back on it. It was really a hell of a lot of fun, we loved the idea of being able to overdub even though we didn't get to do too much of that, it was still fun. That was pretty high tech in those days, being able to lay down a couple of tracks with your voice." guitarist Mike Barnes recalls.
Similar to the Bosstown sound (Orpheus, Ultimate Spinach), Tiffany Shade lean towards harmony-driven vocals that combine their clever pop sensibilities with a versatile showcase of keys, organ, and scintillescent guitars. After their album's release in '68, they had the opportunity to open for Big Brother & Holding Co., but because of poor sales (and like many Mainstream artists) the band didn't last and went their separate ways in '69.
Elaine Brown has led a life of distinction. Appointed in August 1974 by Huey Newton from his exile in Cuba to be the one and only female leader of the Black Panther Party, Elaine has pursued a career of community service that continues to this day. But her debut 1969 album Seize the Time leaves one wondering what would have happened had she not put her musical career second. She was first discovered as a performer while singing Thomas Dorsey’s “Precious Lord” at the funeral service for Panther Bunchy Carter. Afterwards, Panther’s Chief of Staff David Hilliard had her audition for him accompanying herself on piano. That session led to her composition “The Meeting” (about an encounter with Eldridge Cleaver) being adopted as the Black Panther Party National Anthem, and an album was commissioned. Elaine enlisted Los Angeles jazz legend Horace Tapscott and his PanAfrikan Peoples Arkestra to arrange and back her, and Seize the Time was born—which the Black Panther Party’s newspaper called “the first songs of the American revolution.” Blending influences ranging from Bob Dylan to classical, and anchored by Elaine’s powerful delivery of her deeply-felt lyrics, this album will stir your blood whether you agree with its politics or not. Now, with the cooperation of Elaine Brown herself, Seize the Time sees its first-ever American LP reissue, complete with original “uni-pak” packaging featuring lyrics and liner notes, plus an insert with new liner notes by Pat Thomas, author of Listen Whitey! The Sounds of Black Power 1965-1975.Limited run of 950 copies in deep purple vinyl. SIDE ONE 1. Seize the Time 2. The Panther 3. And All Stood By 4. The End of Silence 5. The Meeting (The Black Panther Party National Anthem SIDE TWO 1. Very Black Man 2. Take It Away 3. One Time 4. Assassination 5. Poppa’s Come Home SELLING POINTS • Elaine Brown Is an Activist First and Musician Second • But Her 1969 Debut Seize the Time Shows Things Could Have Gone the Other Way • She Was Appointed in 1974 by Huey Newton from His Exile in Cuba to Be the One and Only Female Head of The Black Panther Party • She Has Pursued a Career in Community Service That Continues to This Day • First Discovered as a Performer When Singing Thomas Dorsey’s “Precious Lord” at the Funeral for Panther Bunchy Carter • Then Panther’s Chief of Staff David Hilliard Had Her Audition for Him Accompanying Herself on Piano • An Album Was Commissioned, and Brown’s “The Meeting” (About an Encounter with Eldridge Cleaver) Became the Black Panther Party National Anthem • Seize the Time Was Arranged by L.A. Jazz Legend Horace Tapscott, and Features His Pan-Afrikan Peoples Arkestra • A Unique Record Featuring Influences Ranging from Dylan to Classical, All Anchored by Brown’s Impassioned Singing and Deeply-Felt Lyrics • First-Ever American LP Reissue • Includes Original Uni-Pak Jacket with Notes and Lyrics • Also Contains Insert with Notes by Pat Thomas, Author of Listen Whitey! The Sounds of Black Power 1965-1975 • Deep Purple Vinyl Pressing • Limited to 950 Copes • This Release of Seize the Time Is Fully Authorized by Elaine Brown Herself STREET DATE: MAY 3, 2024 (Limited Deep Purple Vinyl Edition) iBarcoder Trial ELAINE BROWN BLACK PANTHER PARTY BLACK PANTHER PARTY ELAINE BROWN VAULT
Ultimately about self trust, Nicholson uses brooding chamber- pop and synthladen alt-pop to navigate many of the different relationships we have in our lives: friends, family, relationships with ourselves and, more personally, her changing relationship with music.
Self-produced by Nicholson at Blank Studios in Newcastle, the recording process was complemented by mix engineer Oli Deakin (CMAT, Benjamin Francis Leftwich, Elanor Moss) and mastering engineer Katie Tavini (Arlo Parks, Nadine Shah, Sega Bodega).
The resultant album takes the listener on intimate journeys of minimalism and melancholy through to blooming, euphoric ends, with Nicholson's signature rich harmonies and ethereal, reed- like vocals remaining a compelling constant. Exploring themes of escapism, nostalgia and self-reflection, Nicholson leans on musical influences including Daughter, Matt Corby, The National, Warpaint, Lucy Rose and Laura Marling. There are also nods to her prog-rock upbringing and 80s inspired outros that wouldn't sound out of place on the soundtracks to Drive and Stranger Things.
