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CITY OF CATERPILLAR return with their first new album in 20 years, Mystic Sisters! When guitarist/vocalist Brandon Evans, guitarist Jeff Kane, drummer Ryan Parrish and bassist/vocalist Kevin Longendyke unveiled their self-titled debut in 2002, their emotional, frenzied and often cinematic music was at the vanguard of the burgeoning screamo movement. Along with bands like Pg.99 (with whom they shared members), Majority Rule, Planes Mistaken For Stars and others, they helped develop a style of music that took hardcore into convulsive new territory. After years spent living in other parts of the country and playing in other bands—including Darkest Hour, Malady and Ghastly City Sleep, the long awaited CITY OF CATERPILLAR reunion shows snowballed into writing sessions. The result - Mystic Sisters, an album that recaptures the magic of old while taking the band’s music into exciting new territory! The winding and atmospheric title track that embodies CITY OF CATERPILLAR's experimental side features some noise violin from Evans’ former Pg. 99 bandmate Johnny Ward, while tracks like "Decider" and "Paranormaladies" showcases the band's roots with a flurry of viceral, noisey hardcore swagger. Tracked primarily at Montrose Recording in Richmond, Mystic Sisters was self-produced by the band and then mixed and mastered by Jack Shirley (Deafheaven, Bosse-de-Nage). Ultimately, CITY OF CATERPILLAR are more concerned with creating a mood than telling a story. “The band is always focused on mood,” Evans confirms. “To me, that’s the most important thing. I don’t really want people dissecting what we’re trying to say, because it’s not really about us. It never has been. What we cared about 20 years ago was innocent, raw emotion, and that’s what we care about now.”

Greet Death is a four piece shoegaze band from Flint, Michigan. "New Low" is a new 5 song 12"EP from Greet Death. The first four singles from this session were released digitally over a span of months in 2021 into 2022, leaving the title track exclusive to this final collection. With "New Low" Greet Death continue to explore the layered melancholic atmosphere they are known for while expanding into unconventional melodic territory. Produced by Greet Death Engineered and mixed by J. Kalmink at The Stooge in Zeeland, MI Mastered by Will Yip Music and Lyrics by Logan Gaval and Sam Boyhtari Vocals by Gaval and Boyhtari Drums and Percussion by Jim Versluis Guitars and Bass by Gaval and Boyhtari Piano by Boyhtari Photos by David Beuthin Scythe Logo by Liam Rush Original Band Logo by Brendan Coughlin Design by Jacob Bannon

Inhaler melden sich mit der Indie-Rock-Hymne „These Are The Days“ am 30. September auch in physischer Form zurück.

Die irische Band hat inzwischen weltweit über 140 Millionen Streams erreicht und ihr Debütalbum war ein zertifizierter britischer Durchbruch (Albumcharts #1), von dem weltweit über 120.000 Stück verkauft wurden. „These Are The Days“ ist der erste Track, der aus den Sessions für Inhalers kommendes zweites
Album stammt.

Die Single erscheint als 7“ Vinyl

Das zweite Solo-Album des virtuosen Rory Gallagher erscheint am 30. September in einer 50th Anniversary Edition. Gallaghers Können, vor dem sich Generationen von Gitarristen von Hendrix bis The Edge verneigen, begeistert hier nicht nur im neuen Mix & Master und in bis zu 28 unveröffentlichten alternativen Takes, sondern auch in 13 Session-Aufnahmen von der BBC und Radio Bremen. Die ”Deuce” 50th Anniversary Edition erscheint als 2CD, 3LP und 4CD+DVD Deluxe Set.

"Exile on Mainstream" ist das erste und einzige
Compilation-Album der amerikanischen Rockband
Matchbox Twenty. Diese Veröffentlichung aus dem Jahr
2007 enthält 7 neue Songs, die in einer von Steve
Lillywhite produzierten Session entstanden sind, sowie 11
der größten Hits der Band. Diese Wiederveröffentlichung
markiert die erste Farbvinyl-Edition (weiß) des Albums
und die erste Neuauflage seit 2007.

The long-awaited full-length from Tommy and The Ohs: Mariposa Gold. Ohs’ mastermind Thomas Oliverio has worked alongside some of the biggest names in music today—but with Mariposa Gold, he takes a sharp turn into the psychedelic reaches of American roots music and the avant-garde. The result is a wild trip through a lavish soundscape, a California of fantasy and heartbreak, where genres and traditions bleed together in “the big surreal.” Guided by Oliverio’s fine-tuned sense of production and melody, Mariposa Gold is lush with arrangements that strive toward new and surprising dimensions. These songs sway like hummable country weepers sent through the looking glass, joining sheer virtuosity, worthy of the best session players, to a distinct experimental sensibility shaped by bluegrass, country, and psychedelia.

2x LTD CLEAR VINYL
Limitiertes, durchsichtiges Doppelvinyl inklusive Downloadcode!

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .

Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with guitarist Philip Catherine, pianist Joachim Kuhn and other session musicians, he recorded the 1974 album Toots Thielemans/Philip Catherine & Friends, which was later reissued as Two Generations. The album features some of his best known works such as “Bluesette” and “Inner Journey”, which were previously cd-only compositions.

Two Generations is part of the Timeless Records 45th Anniversary Jazz Series and is available as a limited edition of 750 individually numbered copies on white coloured vinyl. The sleeve features the artwork of the
1996 reissue.

The Chicago group, which features Elijah McLaughlin on 12 and 6 string guitars, Joel Styzens on hammered dulcimer, and Jason Toth on upright bass, blends elements of American primitivism guitar styles, with free jazz and modern classical music together into something daringly original and stunningly beautiful. -Record Crates United. If there was a silver lining to the cloud of uncertainty that was life during the early days of the pandemic, it was that all of the isolation provided a clear break from the entrenched routines of day to day life. This respite allowed me to see in sharp contrast all of the things that were important in my life, and all of the things that were trivial, and thus expendable. It was during this time that I began to write in earnest for this 2nd Elijah McLaughlin Ensemble record. Over the course of a year, I would bring my new compositions to my collaborators (Jason Toth and Joel Styzens), and usually after a very limited number of rehearsals we would enter the studio at the Fine Arts Building in Chicago and record the songs on an old Tascam ½” tape machine. There were four such studio sessions, in which all recorded material was culled down to these 9 songs. We recorded the material with a strong improvisational approach, and a couple of these songs are essentially first takes. I am very proud of the material on this album, and the energy we captured in the studio. I am glad to partner with Tompkins Square in sharing this album with the world.

Geir Sundstøl: Strings With: Maria Due, Daniel Sandén Warg, Audun Erlien, Nikolai Hængsle, Håkon Brunborg, Lars Horntveth, Hans Hulbækmo, Gulzar Butt, Kjell Pop, Jarle Bernhoft, Chimta Raja Abdul, Sofi Jonas, Bashir Rydhem, Erland Dahlen.Geir Sundstøl has made a name for himself as an innovative session musician on hundreds of Norwegian and international albums. 2015 saw the release of Furulund, the first self-composed long player from this Master of Strings. Langen Ro, Norwegian Grammy winner Brødløs and St.Hanshaugen Steel, followed soon after. Now, the stage is set for something quite different. The Studio Intim Sessions, Volume 1, Sundstøl's fifth solo album, has taken a trip on its own, away from the cinematic Nordic noir and genre-crossing soundscapes we know, and ended up somewhere south of the Kattegat.

1.Gem (06:16) 2.Dogg (03:29) 3.Snik (03:25) 4.Jekk (05:00) 5.C’est vide en ville (09:18) 6.Whole (03:50)

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

Space Summit is a collaboration between the omnipresent Marty WillsonPiper (ex-The Church) and Minneapolitan Jed Bonniwell
Writing the music together, Marty handles the luminescent electric guitars and
the bass whilst Jed is in charge of lead vocal duties, and lyrics. The music
created on Space Summit's debut album is simultaneously modern and classic
dream pop – the subtle shading of dark and light with layered, sonic textures on
every track.Conceived in cyberspace, the album is produced by Marty and
producer/ engineer Dare Mason who also plays keyboards. Phoebe Tsen sings
harmony vocals, Olivia Willson- Piper plays the strings, Eddie John plays the
drums and Anekdoten's Nicklas Barker and Sophie Linder play Mellotron. All the
usual suspects from Marty's recent Noctorum and MOAT projects make an
appearance. Bringing together musicians from England, the USA, Sweden, and
even Borneo where Phoebe lives, is recognition of a new future in music.
This album is the first of Marty's intriguing Sessioneer Series working with newly
discovered collaborators from around the globe.

It was 1974 when Magma’s fourth studio album Ẁurdah Ïtah came out. Originally, the album was released under the name of Tristan Et Iseult as a solo studio film soundtrack by founding member Christian Vander. He recorded the music for Yvan Lagrange’s 1872 avant-garde film Tristan Et Iseult. The recordings took place only a month prior to the sessions which produced Köhntarkösz. For these recordings for Ẁurdah Ïtah, only a core quartet of Magma members took part, including Christian Vander, Jannick Top, Klaus Blasquiz and Stella Vander providing only drums, bass, piano and vocals. Fifteen years later, in 1989, the album was re-released with Magma’s distinctive logo.

Ẁurdah Ïtah is available as a limited edition of 2000 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve.

Jeff Beck and Johnny Depp tapped into the frustration of living through the pandemic in 2020 with their well-timed cover of John Lennon’s “Isolation.” The Grammy winning guitarist and Hollywood Vampires co-founder are back with their first album together, appropriately titled, JEFF BECK AND JOHNNY DEPP. On the new record, Beck’s first studio effort in six years, the artists coax unexpected performances from one another on 11 covers and two originals that touch on everything from Celtic and Motown to John Lennon, the Beach Boys and The Velvet Underground.

The result is a wild roller coaster ride through different genres where hairpin juxtapositions deliver some of the album’s biggest thrills. A remarkable example comes early on when the industrial stomp of Killing Joke’s “Death And Resurrection Show” gives way to the intense heartache of Dennis Wilson’s “Time.” Each performance stands on its own, but the sharp contrast created by sequencing them together heightens the emotional impact of both songs.

The duo recorded most of the album in Beck’s studio over three years while Depp lived on and off in the guitarist’s English cottage. Robert Adam Stevenson co-produced several tracks on the album and engineered many of the sessions remotely from Depp’s studio in Los Angeles. When the basic tracks were finished, they were fleshed out by musicians who’ve played with Beck through the years, including drummer Vinnie Colaiuta and bassist Rhonda Smith.

The album title will be “18.” The cover illustration (attached) was done by Jeff’s wife, Sandra and pictures them when they were both 18. Here’s Jeff’s comment on the title from the PR: Beck explains the album title: “When Johnny and I started playing together, it really ignited our youthful spirit and creativity. We would joke about how we felt 18 again, so that just became the album title too.”

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.

'Ella & Louis Again' pressed on limited edition 180g premium vinyl for
super fidelity and presented in a deluxe gatefold sleeve
This was the second album pairing Ella Fitzgerald and Louis Armstrong produced
by Norman Granz for his Verve label. After recording a series of duets in the late
1940s for Decca, Ella and Louis were invited by Granz in 1956 to make a series of
sessions which would result in the memorable 'Ella and Louis'. Such was the
commercial success of the LP, the formula was repeated the following year with
the making of 'Ella and Louis Again'. Like its predecessor, it received both critical
acclaim and commercial success.

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

Two insanely funky dancefloor bangers recorded in the late '60s in Peru by the long time Coco Lagos associate and top percussionist Mario Allison. Astonishingly hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl. Peruvian artist Mario Allison was born into a family of musicians. One of his brothers was part of groups like Los Golden Boys, others were percussionists and singers. His North American ancestry familiarized him with the use of English from an early age. He met Coco Lagos through a mutual friend, César González, and the three of them soon became regulars at the recording sessions taking place at MAG studios. The connection between them was formidable to the point of coordinating without the need for prior rehearsals. Mario Allison was a self-taught timbalero and his performances are said to have been full of energy and passion. At concerts it was not uncommon for female audiences to react by screaming and freaking out every time Allison performed a solo. After years working at MAG's studio as session player, in the late '60s he was offered the opportunity of recording his own stuff under his name. Mario Allison then worked on a repertoire focused on boogaloo, descarga and, mainly, pompo. This single comprises two insanely funky dancefloor bangers recorded in that period; hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl.

A decade is a long time in music, but it feels less epic when the music in question is timeless, picturesque, and immersive. Founded in London, run from Bali for a period, and now based in Ibiza, NuNorthern Soul has grown from humble roots to become one of the most popular outlets for Balearic music on the planet.

NuNorthern Soul started in the late 1990s, long before the label launched, NuNorthern Soul was a regular Sunday session in a bar in Chester, UK where label founder Phat Phil Cooper and school friend Jim Baron (Ron Basejam, Crazy P, JIM) sat behind the decks and played laidback, eclectic musical selections to wind down the weekend. The name was suggested by one of the event’s regular punters, who likened the community feel of the event to his experiences as a Northern Soul dancer.

Fast forward to 2011. Following a move to London, Cooper was introduced to Ben Smith, a singer-songwriter and producer whose music he’d long admired. After bonding over a few pints of Guinness, Smith offered to hand over a hard drive full of unreleased tracks; together, the pair put together what would become the NuNorthern Soul label’s first ever release: a fine album of beautiful, boundary-free music entitled The Movedrill Projects.

Another EP from Smith, Dedications to the Greats, followed in early 2013, with the sometime Fug and Akwaaba band-member recording emotive, life-affirming cover versions in his signature style. It was followed by an EP of opaque, sunset-ready songs from Ragz Nordset, and NuNorthern Soul was on its way. While the label has subtly moved around musically since, offering up EPs and albums that incorporate elements from a multitude of becalmed and blissful styles, the core ethos remains the same. Significantly, those early Ben Smith and Ragz Nordset releases still stand up to scrutiny all these years on.

Smith has remained a big part of the NuNorthern Soul family ever since, and it’s fitting that two of his tracks – the stunning, undulating downtempo epic ‘Over Land & Sea’, from improvised 2019 album From The Ash, and Jonny Nash’s glistening, shuffling 2015 rework of ‘Hold On To It’ – are featured on this 10th birthday celebration of the NuNorthern Soul story so far.

It’s right, too, that Jim Baron, whose stints behind the decks with Cooper in Chester began the NuNorthern Soul story, also makes two appearances. His chugging, jangling, wide-eyed 2014 Ron Basejam rework of Ragz Nordset’s ‘You Started It All’ – a track that has so far racked up over three million streams on Spotify – was an early label hit, while his fragile, softly spun masterpiece as JIM, ‘Whisper in the Wind’ (featuring none other than Ben Smith on guitar), features here via a deliciously stretched-out, sunrise-ready remix from James Holroyd under his Balearic-friendly BEGIN guise.

Sentimentality aside, the success of NuNorthern Soul is rooted in Cooper’s ability to pick music to release from a wide variety of artists that fits the label’s colourful, atmospheric, and tactile sonic vision. This lovingly curated box set is testament to that, with immersive, yearning efforts from veteran musicians such as Jon Tye (here appearing as Captain Sunshine, via the breath-taking ‘The Oceans Inside’) and the late, great Ryo Kawasaki (remixed by Mancunian, former Body & Soul NYC resident DJ Andi Hanley) being joined by wonderfully on-point productions from relatively recent signings such as Torn Sail (the Balearic folk swell of ‘Disconnected’), George Koultalieris, My Friend Dario and Tambores En Benirras.

10 Years, 5 EPs, 10 tracks, exclusives, previously unreleased and hard to find NuNorthern Soul treasures. Packaged in a full colour commemorative designed box with full colour inner sleeves. 1 track per side of vinyl for maximum audio pleasure. Comes with 4 page NuNorthern Soul insert. Limited edition.

BLACKFIELD V - MARKING THE BANDS' RETURN TO FULL
COLLABORATIVE MODE.Blackfield is the collaboration between Israeli
songwriter & musician Aviv Geffen & British musician & producer Steven
Wilson
'Blackfield V' signalled a return to the full partnership that made the first two
albums such firm favourites with fans, hinted at by the reprisal of the medicine
bottle in the artwork from their first album.
The pair makes for a formidable musical force; Geffen has worked with legendary
producers Tony Visconti & Trevor Horn, has played live with U2 & Placebo & is
currently a judge on the Israeli TV show 'The Voice'. Wilson, leader of the hugely
influential band Porcupine Tree, has embarked on a highly successful solo career,
achieving 3 UK top 40 albums & 4 Grammy nominations.
Written & recorded over a period of 18 months in both Israel & England, 'Blackfield
V' contains 13 linked songs that form a flowing 45- minute ocean themed song
cycle. With the pair expertly handling vocals, guitars & keyboards, they brought in
Tomer Z from the Blackfield band on drums, Eran Mitelman on keys & string
arrangements were performed by the London Session Orchestra. 'Blackfield V' is
a powerful journey through catchy melodies, lush arrangements & stunning
production, with legendary producer / engineer Alan Parsons working on three of
the album's key tracks.
'Blackfield V' is available on Black LP via Kscope.

BLACKFIELD V - MARKING THE BANDS' RETURN TO FULL
COLLABORATIVE MODE.Blackfield is the collaboration between Israeli
songwriter & musician Aviv Geffen & British musician & producer Steven
Wilson
'Blackfield V' signalled a return to the full partnership that made the first two
albums such firm favourites with fans, hinted at by the reprisal of the medicine
bottle in the artwork from their first album.
The pair makes for a formidable musical force; Geffen has worked with legendary
producers Tony Visconti & Trevor Horn, has played live with U2 & Placebo & is
currently a judge on the Israeli TV show 'The Voice'. Wilson, leader of the hugely
influential band Porcupine Tree, has embarked on a highly successful solo career,
achieving 3 UK top 40 albums & 4 Grammy nominations.
Written & recorded over a period of 18 months in both Israel & England, 'Blackfield
V' contains 13 linked songs that form a flowing 45- minute ocean themed song
cycle. With the pair expertly handling vocals, guitars & keyboards, they brought in
Tomer Z from the Blackfield band on drums, Eran Mitelman on keys & string
arrangements were performed by the London Session Orchestra. 'Blackfield V' is
a powerful journey through catchy melodies, lush arrangements & stunning
production, with legendary producer / engineer Alan Parsons working on three of
the album's key tracks.
'Blackfield V' is available on Black LP via Kscope.

Big Acid hard Techno EP bringing some Rave remixes...
A Massive 4rth release on JKS autoproduction's label !

ENJOY !

THE MARCH VIOLETS came out of Leeds in the early 80"s, label-mates of Sisters of Mercy. Releasing six singles, they were a constant presence in the UK indie charts, hitting the top two spots with Snakedance, Deep and Walk Into The Sun. They never got around to recording an album - their only "80"s long-players, Natural History in the UK and Electric Shades in the USA, were compilations. Eventually they signed to a major label and were groomed for a USA breakthrough, performing in the 1987 Some Kind of Wonderful movie. However they were asked to make too many compromises and split up. Their early eighties career was thankfully well-documented by the BBC, who broadcast six sessions between 1982-86 - three for John Peel, and one each with Kid Jensen, Janice Long and Richard Skinner. Chronicling their development with lead singers Simon Denbigh, Rosie Garland and Cleo Murray and backed by bassist Lawrence Elliot and guitarist Tom Ashton, these sessions include nine unreleased songs and alternative versions of their indie hits. Here is the unheard history of The March Violets.

Micah is a special one. His playing has a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music – all delivered with curiosity, patience, humor and care. I make a point to hear him as often as I can, as he always inspires and is constantly evolving. Micah is one of the most exciting musicians of his generation. One who has a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.

"When we decided to produce Micah Thomas, the project involved a recording of five titles only. In the first part of an approximately one hour session, Micah beautifully played first takes of up to ten titles, with fantastic artistic fervor and great freshness. Taken by surprise, joy and admiration, we decided on the spur of the moment to change our initial plans, so we could capture the magic of that


session for a little longer. Here is the result, a 12 titles double vinyl that takes you back to October 31st, 2020 at Big Orange Sheep studio in Brooklyn, NY. Twelve songs when we encountered the art of Micah Thomas as a solo pianist for the first time."

El Goodo guitarist and songwriter 'Pixy Jones' has announced that his debut album entitled 'Bits n Bobs' is due for release on 16th of September via Strangetown Records. 
After 4 albums with El Goodo, Welsh psych scene stalwart Pixy Jones has himself compiled a truly remarkable collection of tracks that fluctuate from 60's harmony-rich psych pop, to Alt-Country with ringing tremelo guitar. 

The swaggering 'I'm Not There' is the first single to be taken from 'Bits n Bobs' accompanied by a magical version of Beatles track 'And Your Bird Can Sing' as it's B SIde, which will be released digitally on Friday 1st of July.

Pixy had this to say about the release: 
The album was originally intended as a solo project under the pseudonym of “Wallace Russell”. I recorded it alongside the recording of Zombie (El Goodo) whenever I could get in the studio. There are some really old songs that have always been overlooked for 'El Goodo' albums for one reason or another, a few new ones which I wrote specifically for this, and a couple that would have probably ended up on the intended double album version of Zombie if we’d kept going with the double album idea. I’ve since ditched the 'Wallace Russell' name and gone back to 'Pixy Jones' as I figured there’s no need to have a pseudonym if nobody knows who you are in the first place. Even though I dropped the name I’ve kept the walrus mask for now as it is more photogenic than my actual face.
I had no recording budget so I had to fund it by quitting smoking and saving the money up to pay for studio time. It took, I think, two and a half years to record, which is by far the quickest I’ve ever recorded an album.

Originally I wanted it to just be a quickly recorded slap dash and get it out sort of thing but I had a year and a half during Covid to think about it a bit more and ended up taking more care to get it done properly. It was just me there so I played most of it myself apart from Stephen Black (Sweet Baboo) who played brass and woodwind on one song and Rhodri Brooks (AhGeeBe) plays some pedal steel on a couple. 

Elliott and Canny from 'El Goodo' played drums and bass on Wind Street during the ‘Zombie’ recording sessions. 

The album was recorded and mixed in Aerial Studios with Tim Lewis, (Thighpaulsandra), a couple of songs were finished in the house during the lockdowns.

COLD GAWD ist der Name, unter dem der in Kalifornien lebende Multiinstrumentalist Matt Wainwright stürmische, verletzliche Shoegaze-Musik mit offenen Stimmungen und R&B-Melodien kreiert. Inspiriert von diesen Klängen, präsentieren COLD GAWD eine verfeinerte, modernisierte Version des Genres. Das insgesamt zweite Album der Band, "God Get Me The Fuck Out Of Here", nahm im Winter 2020 Gestalt an, während Wainwright lange Solo-Schichten in einem Coffee Shop in Chicago arbeitete. Angetrieben von dem Traum, in seine Heimatstadt Rancho Cucamonga zurückzukehren und alte Freunde aus früheren Hardcore-Bands wiederzutreffen, verkroch sich Wainwright mit seiner begehrten rosa Jazzmaster, einer Reihe von Effektpedalen und einem Laptop und schrieb das gesamte Album in einem Monat. Im März 2021 zog er zurück in den Westen ins Inland Empire, wo er bei Gabe Largaespada im Open Ocean Sessions zum Aufnehmen und Abmischen buchte. Obwohl er jedes Instrument selbst einspielte, haben die Ergebnisse das lebendige Gefühl einer geübten Live-Band (was COLD GAWD jetzt sind, da sie zu einer sechsköpfigen Band angewachsen sind). Kaskadenartige Gitarrenwände wirbeln, wallen und plätschern, umrahmt von versunkenen Rhythmen und Wainwrights entfernter, geschlagener Stimme, die in violetten Dunst gehüllt ist. Wainwright nennt die thematischen Gemeinsamkeiten zwischen Shoegaze und R&B als zentrale Muse, die beide obsessiv auf Liebe, Lust und Sehnsucht fixiert sind, in abwechselnd grandiosen und molligen Formen. Textlich schwankt das Album zwischen schräg und verzweifelt, sehnsüchtig und resigniert - mit Ausnahme von "Comfort Thug", einem grüblerischen, größtenteils improvisierten Spoken-Word-Stück, das durch den bemerkenswerten Mangel an schwarzen Musikern im Shoegaze inspiriert wurde. COLD GAWD ist hier, um das zu ändern. "God Get Me The Fuck Out Of Here" kanalisiert Unwohlsein und Melancholie in hauchdünne, energiegeladene Hymnen über Flucht, Veränderung und Introspektion. Das erdrückende Schlussstück "Passing Through The Opposite Of What It Approaches" wabert und schwebt wie drohende Gewitterwolken, unter denen Wainright singt (und sein Bandkollege Arturo Ramirez schreit), was einem Mission Statement so nahe kommt, wie es das Album bietet: "leave what you know / and get grown / everyday / remember / why you left".

COLD GAWD ist der Name, unter dem der in Kalifornien lebende Multiinstrumentalist Matt Wainwright stürmische, verletzliche Shoegaze-Musik mit offenen Stimmungen und R&B-Melodien kreiert. Inspiriert von diesen Klängen, präsentieren COLD GAWD eine verfeinerte, modernisierte Version des Genres. Das insgesamt zweite Album der Band, "God Get Me The Fuck Out Of Here", nahm im Winter 2020 Gestalt an, während Wainwright lange Solo-Schichten in einem Coffee Shop in Chicago arbeitete. Angetrieben von dem Traum, in seine Heimatstadt Rancho Cucamonga zurückzukehren und alte Freunde aus früheren Hardcore-Bands wiederzutreffen, verkroch sich Wainwright mit seiner begehrten rosa Jazzmaster, einer Reihe von Effektpedalen und einem Laptop und schrieb das gesamte Album in einem Monat. Im März 2021 zog er zurück in den Westen ins Inland Empire, wo er bei Gabe Largaespada im Open Ocean Sessions zum Aufnehmen und Abmischen buchte. Obwohl er jedes Instrument selbst einspielte, haben die Ergebnisse das lebendige Gefühl einer geübten Live-Band (was COLD GAWD jetzt sind, da sie zu einer sechsköpfigen Band angewachsen sind). Kaskadenartige Gitarrenwände wirbeln, wallen und plätschern, umrahmt von versunkenen Rhythmen und Wainwrights entfernter, geschlagener Stimme, die in violetten Dunst gehüllt ist. Wainwright nennt die thematischen Gemeinsamkeiten zwischen Shoegaze und R&B als zentrale Muse, die beide obsessiv auf Liebe, Lust und Sehnsucht fixiert sind, in abwechselnd grandiosen und molligen Formen. Textlich schwankt das Album zwischen schräg und verzweifelt, sehnsüchtig und resigniert - mit Ausnahme von "Comfort Thug", einem grüblerischen, größtenteils improvisierten Spoken-Word-Stück, das durch den bemerkenswerten Mangel an schwarzen Musikern im Shoegaze inspiriert wurde. COLD GAWD ist hier, um das zu ändern. "God Get Me The Fuck Out Of Here" kanalisiert Unwohlsein und Melancholie in hauchdünne, energiegeladene Hymnen über Flucht, Veränderung und Introspektion. Das erdrückende Schlussstück "Passing Through The Opposite Of What It Approaches" wabert und schwebt wie drohende Gewitterwolken, unter denen Wainright singt (und sein Bandkollege Arturo Ramirez schreit), was einem Mission Statement so nahe kommt, wie es das Album bietet: "leave what you know / and get grown / everyday / remember / why you left".

Now available on vinyl, Heartmind is Cass McCombs' biggest album in
years, garnering the best reviews of his career to date
UNCUT ALBUM OF THE MONTH - "One of the most impressive bodies of work of
the century so far."
MOJO ALBUM OF THE MONTH - "On a mission to find out where the heart and
mind intersect.....there is real emotional impact here."
Songs like "Karaoke" are a god-level burst of powerpop perfection, as fetching as
anything Cass has ever cut: Cass triangulates a perch of his very own out among
The Go-Betweens, The dB's, and The Cure,and vibrates there, a beacon. And then,
of course, there is the song's playful if painful lyrical conceit — the lover who is
making all the sacred motions of commitment but whose feelings may be no
more deep or real than someone simply reading the lyrics for "Vision of Love" or
"Stand by Your Man" from some crowded bar's TV screen.
Cass recorded these songs in multiple sessions on both coasts, in Brooklyn and
Burbank. The great Shahzad Ismaily not only cut the staggering "Unproud
Warrior" and four others here but also played lots of bass. Buddy Ross tracked
"New Earth," a paean of post- humanity renewal with several sharp wisecracks.
Ariel Rechtshaid — now a dozen years into his collaboration with Cass, which
began with 2009's Catacombs—captured Cass' scintillating guitars on "Belong to
Heaven," a thoughtful consideration of what we all lose when we lose an old
friend to the inevitable end. The steadfast Rob Schnapf (who previously produced
McCombs' ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd
(yes, that one) offers harmonies, while her beau Cactus Moser provides some lap
steel. Joe Russo, Kassa Overall, Danielle Haim, Nestor Gomez are featured on the
album, too.

Black vinyl LP with DL.

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

repressed in Clear Orange Marbled Vinyl


Splendid re-issue of this sought after Dutch ambient techno classic from the early 90's. Produced by the same team behind the It's Thinking project: Gerd, Dirk & Mark. Originally released through Deviate from Utrecht. Now manufactured by the self titled Marvo Genetic imprint, a one-off subsidiary to Gerd's own Frame Of Mind. Including a previously unreleased track called The Reprise found on the original session tapes. Tip!

Second album in less than a year from the prolific William Dorey. Includes the singles ‘Another Day, ‘Behind The Sun’ and ‘Losing My mind’. CD packaging is gatefold with choice of 5 inserts to ‘choose your own cover’. Building on the success of 2018’s ‘Filoxiny’ (listed as one of Q Magazine’s ‘354 Albums to Blow Your Mind’) and this year’s ‘Umoja’ (“a pleasure to listen to from start to finish” – Songlines magazine) – both of whose singles have peppered the playlists of BBC 6 Music and have lead to his helming of a Bandcamp takeover - Skinshape returns with the witheringly, prophetically titled ‘Arrogance is the Death of Men’. Written and recorded between November 2019 and July 2020, Skinshape bids torecreate something akin to the ‘old style’ of ‘Oracolo’ (2015) and ‘Life & Love’ (2017). With ‘Arrogance…’, Will Dorey’s blueprint points to a simple formula, aligning a bank of fresh drum breaks recorded at the end of 2019 to whatever he had to hand, for a long player recorded in the majority at home due to the COVID-19 lockdown. Forever balanced between sweetness and a sigh, as per his position ‘Behind the Sun’, the Skinshape essence, intricate yet always reachable, at times tailored in a single session and sourcing archive bric-a-brac when required, is all around on the sweetly strummed ‘Tomorrow’ and ‘The Eastern Connection’, featuring Ivan Kormanak on drums. Maintaining an incisive knowledge of global sounds that keeps him in the filmic company of Khruangbin and El Michels Affair, Dorey’s listening to vintage Vietnamese music and Asian film scores provides the basis of ‘Sound of Your Voice’ and ‘Flight of the Erhu’, starring Wan Pinchu on Erhu violin. Acutely aware of the world’s ongoing health crisis without preaching about the whys and wherefores, the title track and ‘Losing My Mind’ reflect enforced confinement as tranquil songs of both quiet consideration yet powerful release. Dorey’s guitar pieces and wraith-like soul continue to flicker with fascination as Indian Summers and fireside retreats beckon, with ‘Watching From The Shadows’ - about “standing up for yourself, and avoiding the limelight for your own good”– and ‘Outro’ gently bringing the album to rest.

AM006 is by Berlin's ML, titled 'Life always breaks your heart'. Two 30-minute pieces were written, constructed, collaged and fixed together by himself. It's an important story, so there's a copy from ML below and also ours was written by Bokeh Version Industrial to do it justice.

Hallucinated Brazilian poetry read by text to voice engines, supernatural thrillers ripped from Youtube, the clang of cutlery and distant canteen conversation, that noise wire fencing makes when you rake it with a stick, crickets chirping over odd dance emotions, a sample you think your recognise but can’t name…..

The trivial is cosmically important, the cosmically important is trivial. ‘It’s about the product’ - all of life’s a sample. You contain universes.

Alice in Wonderland, late night sessions with kosmische guitar legends, ethnographic chants from an unknown land, “There’s no monopoly of knowledge / there’s no monopoly of power”: forecasts from global political trends, China will be important they say, someone’s whistling a tune that doesn’t exist, I’m thinking of times long before I was born . . .

Growing naturally like a beautiful montage from his field recordings (a rich library of personal psychoacoustic details) and his 150 Session on NTS, ML's Life Always Breaks Your Heart is mixtape-concrète:

Gamelan of the soul, Bio-Curry-Wurst in Kreuzberg, zither overlays the booms of the squatter’s homegrade grenades…

Mark Leckey vs. Alvin Curran, Gustav Flaubert vs Cabaret Voltaire, free association flashbacks with the timestamps mixed up, with added bass guitar, OP-1, Ableton, distinguishing the ‘real’ instruments becomes unimportant….they’re absorbed by memory foam….

No country, no flag – outernational without a cause!

There is no purpose, there is only reverie.

ML -

"A useless ruin, things are falling apart, even in our deepest, we long for harmony. A hypothetical path, for obscure reasons, fades into transparency. The mediocrity of Western culture, sicken by P.R., life offers a chance, a place for enthusiasm. The texture of the world, them can read it in your eyes. In the heart of schizo-culture, distance, suddenly shortened, forms characters as symbols. Deafen by mass media, embittered by unsettled chemistry, the willing body, forever in transition. The pre-invented existence, owned by language, creates a passage towards chaos. Paragraphs of currents, amplify the feelings, while silence leaks into the new luxury of time. Gentrification of sentiments, beneath our palms, all these memoirs. A modern consciousness, stretching over years in narcissistic differentiation. In touch with another human spirit, blowing backwards, beneath dark waters. We put our hands on your body, onto a new landscape, employed by metaphysical mutations. At the edge of the cosmos, prairies and mountains hide the truth in tactical silence. Apparently so, a number of months ago, above our head, a landscape of journals. Mystical content, statistically insignificant. A new patio, them crawled through the walls."

zake & Wayne Robert Thomas come together to serve up a thoughtful and healing deep dive into "what it means to continue living life in the face of loss and uncertainty." Their album is one of great depth emotional and full of subtle struggles that we can all relate to. 'To Those Who Dwelt in a Land of Deep Darkness' was first put out as a 10" lathe but now gets pressed dup properly to 12" vinyl with three extra tracks taken from the original recording sessions. They say the best art comes out of adversity and that is certainly true here.

Screaming suburban blues straight from the pages of HeartattaCk magazine, Current exploded out of the early-’90s Midwestern emo scene in a fit of D.C. hardcore-inspired rage. Spread across three LPs, Yesterday’s Tomorrow Is Not Today compiles the quartet’s lone album, two EPs, split 7”s with Indian Summer and Chino Horde, miscellaneous compilation debris, and nine previously unissued alternates, including the infamous KLXU radio show. Remixed and mastered from the original tapes, Current’s complete discography is annotated in Leor Galil’s exhaustive survey, illustrated with period photos, flyers, and cut-n-paste sleeve art across 24 pages.

The Dangermen Sessions is the eight studio album from Madness. Originally released in August 2005, the album consists of cover versions of reggae and ska tracks such as Prince Buster’s ‘Girl Why Don’t You’ and Desmond Dekker & the Aces ‘Israelites’, alongside ska covers of tracks including The Supremes ‘You Keep Me Hanging On’ and The Kinks ‘Lola’. It reached No.11 in the UK chart, which at the time was the band’s highest chart position in the UK since 1984’s Keep Moving. This new reissue features exclusive liner notes containing in-depth interviews with band members Chrissyboy Foreman, Mike Barson and Mark Bedford.

Micah is a special one. His playing has a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music – all delivered with curiosity, patience, humor and care. I make a point to hear him as often as I can, as he always inspires and is constantly evolving. Micah is one of the most exciting musicians of his generation. One who has a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.

"When we decided to produce Micah Thomas, the project involved a recording of five titles only. In the first part of an approximately one hour session, Micah beautifully played first takes of up to ten titles, with fantastic artistic fervor and great freshness. Taken by surprise, joy and admiration, we decided on the spur of the moment to change our initial plans, so we could capture the magic of that

session for a little longer. Here is the result, a 12 titles double vinyl that takes you back to October 31st, 2020 at Big Orange Sheep studio in Brooklyn, NY. Twelve songs when we encountered the art of Micah Thomas as a solo pianist for the first time."

Repress!

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Fire Records will be reissuing the first 3 albums by the Lemonheads, Hate Your Friends (1987), Creator (1988) and Lick (1989), featuring copious bonus tracks and many never-before released rarities and live recordings on the download card. Together, these seminal albums showcase the band's early punk rock roots and trace the Lemonheads’ transformation towards becoming one of the most successful and influential bands in indie rock. Before the 90s. Before the internet. Before Nevermind. Back when something called “independent music” first began reaching a wider audience, through college radio, word-of-mouth, and that small “underground” record store you seem to find in every town…there was a band from Boston called Lemonheads. High school friends Ben Deily and Evan Dando, Lemonheads’ primary songwriters, co-guitarists and co-vocalists, first recorded together on 4-track cassette in the spring of 1985; by the end of the decade they—together with bass player Jesse Peretz, sometimes-guitarist Corey Brennan, and successive drummers Doug Trachten and John P. Strohm—had created a body of recordings which would see them on MTV’s fledgling “120 Minutes,” beating out the Grateful Dead on college radio charts, and entering the consciousness of a generation of music fans. Cited as influences by artists as varied as Billie Joe Armstrong and Ryan Adams, these fledgling Lemonheads recordings—part rock, part pop, part unique hybrid of the 80s punk styles beloved by the band members—mark the start of the trajectory that would eventually lead to “mainstream” success and stardom for a later version of the band. But they also represent a distinct, never-repeated phase of the band’s history: one that is finally receiving the attention it deserves. Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton. The difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (“Mallo Cup,” “A Circle of One,” “7 Powers,” “Anyway”) hints at promising new song writing directions for both Deily and Dando, there’s an almost valedictory sense of the past in the inclusion of versions of “Glad I Don’t Know” and “I Am a Rabbit” (from the band’s first-ever, self-released EP), and the now-classic track “Ever,” a previously-unreleased tune from the original 1986 Hate Your Friends sessions. At moments, Lick almost sounds like an elegy for itself—or an elegy for a band that has reached the end of the beginning. Also audible in the heterogeneous songs are the tensions of line-up changes—and inchoate, growing frustrations. After various band break-ups or threatened break ups (such as Dando’s brief departure to play bass for Boston band the Blake Babies), the Lemonheads convened to record new material for Lick now featured Dando on drums, Peretz on bass, Deily on guitar (and “piano,” according to the album credits) along with the addition of long-time band friend—and former member of TAANG! labelmates Bullet LaVolta—Corey Loog Brennan on lead guitar. And yet the frenzied, quasi-ironic hammer-ons of Corey’s axe provide some of Lick’s most entertaining moments—like the unaccountably-translated-into-Italian paen to 70s detective Ironside, “Cazzo Di Ferro.” (The song’s music was originally composed by Brennan for his Italian punk band, Superfetazione.) After the album’s completion, Deily opted out of the subsequent European tour, before leaving the band permanently. Jesse Peretz stayed on to record their Atlantic records debut Lovey, but left after the supporting tour in '91. Since then, Dando has been the Lemonheads' sole permanent member. BONUS TRACKS: Features bonus tracks including several never-before-released live tracks from a 1987 radio session, live tracks and an interview from the 1989 European tour, and the 4 tracks of the Lemonheads self-released debut EP, Laughing all the way to the cleaners.

Seven Psalms finds Australia's most imperious musical misfit Nick Cave leaving his Bad Seeds at home and teaming up with frequent collaborator Warren Ellis for a limited 10". The spoken word pieces on this record are the result of a daily song writing practice over a week during lockdown - Cave himself describes them as "small, sacred songs," set to appropriately subtle musical accompaniment. Recorded during the sessions for Cave and Ellis' 2021 album Carnage, it's a rich work in its own right that offers a different perspective on Cave's considerable gifts as a soothsayer.