Cerca:bill x

SEX was composed during the formation of Imhof’s art show of the same name, previously exhibited at Tate Modern, London, The Art Institute of Chicago and forthcoming at Castello di Rivoli, Italy, this September. Imhof, Douglas and Bultheel, reworked the songs from how they appeared in the exhibition ‘SEX’. The result is a compelling record that acts as an imaginative accompaniment to the ‘SEX’ performances, as well as standing alone as a progressive collection of contemporary compositions.

SEX references punk, industrial and grunge, and boldly juxtaposes these forms with music of the classical and baroque period. The album combines classical formals and orchestration with vocals that are rooted in subcultural traditions, thus beautifully overdrawing and overwriting these forms with the composer’s own. Harpsichord and oboe are combined with distorted electric guitar, or exuberant string ensembles with heavy industrial drums.

The amalgamation of genres contained in the album was also integral to the choreography of SEX, where walzes and tangos were contrasted with stage diving, slam dancing and moshpits. What resulted was a surreal ballroom, loaded with desire and aggression. In the same vein, the record fearlessly shapeshifts, blends genres and styles evoking an impressive array of moods. Oscillating between fragility and flamboyance, Imhof and Douglas’ versatile voices reinvent themselves from one song to the next, while singing songs of love and hate.

The last song on Sex is ended by a quote of the band LOW, `All you Pretty People, you`re all gonna die`. This ambiguous moment, a prophecy sung in Douglas’ vibrating baritone voice, rattles the listener despite the mundane truth of the statement. This complexity is reflected in the album itself, allowing for an unusual multiplicity of emotions and interpretations with impressive depth and dynamism.

The album is mixed & engineered by Ville Haimala and mastered by Rashad Becker, featuring design by ZAK Group and photography by Nadine Fraczcowski. All tracks by Anne Imhof, Eliza Douglas & Billy Bultheel, track 6* by Eliza Douglas & Ville Haimala.

Global reggae stars SOJA are back with their first album in 4 years.
‘Beauty In The Silence’ features special guests Rebelution, UB40, Dirty
Heads, Slightly Stoopid, Collie Buddz and more.  SOJA deliberately took their time in creating ‘Beauty In The Silence’ as
they explored new sonic terrain, recording in such iconic spots as
Miami’s Circle House Studios and Dave Matthews Band’s Haunted
Hollow, and teaming up with producers like Niko Marzouca (Bob Marley,
Pharrell, Rick Ross, A$AP Rocky), Mariano Aponte and Johnny Cosmic.
The band eventually phased into working remotely as stay-at-home
orders set in across the country and, in that process, lead guitarist
Trevor Young (formerly SOJA’s guitar tech) took on a much greater role
in the band’s creative direction, co-producing alongside Hemphill and
carefully shaping the album’s hypnotic sound.  For more than two decades, SOJA have elated audiences across the
globe with their fresh yet timeless take on roots reggae, a sound born
from their shared passion for making music that transports and inspires.
The band was originally formed by a group of friends while still in middle
school and they have since built a massive, dedicated global fanbase. In
the years following, SOJA have headlined shows in over 30 countries
around the world, received multiple GRAMMY nominations and
generated 7 million social media fans and more than 1 billion streams;
attracting an international fanbase along the way, with caravans of
diehards following them from city to city.  “Charismatic bandleader Jacob Hemphill writes SOJA’s lyrics as an
attempt to find a path to unity in the world.” - NPR
 “SOJA has cultivated a dedicated global fanbase with their socially
conscious lyrics, catchy sound and a ceaseless touring schedule.” - MTV
 “Contemporary reggae with a forthright social conscience.” - Billboard
 “Over the course of their near-20-year career, SOJA has amassed a
loyal following for their social justice-minded brand of roots reggae.” - USA Today

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their second album, simply called "2" was originally released by Mascot Records in Europe in 2011. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

Producer Kevin Shirley explains "On '2', you can hear the band own their music, own their sound, and it is an astonishing musical group unlike any other and they are absolutely the kings of their genre." He continues sstating, "I wanted to explore more of the Bonham sound and more importantly each member of the band gets a unique opportunity to shine, but the music always has the distinct sound that is BCC." Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their debut album “Black Country Communion” was originally released by Mascot Records in Europe in 2010. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

On "Black Country Communion" most songs are sung by Glenn Hughes, with the exception of 'Song Of Yesterday' and 'The Revolution In Me' which are both sung by Joe Bonamassa. Hughes and Bonamassa share lead vocals on the songs 'Sista Jane' and 'Too Late For The Sun'. Also included on the album is a new version of Medusa, the classic rock song that Hughes originally recorded with his first band Trapeze. Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Tape

Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing.

The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy.

This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.

Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others.

Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

After four highly successful albums and two live albums, it was time for Canadian punk rockers Billy Talent to release their first greatest hits compilation in 2014, simply called Hits. The album contains 12 of the band’s most popular singles, including “Try Honesty”, “Red Flag”, “Fallen Leaves”, “Devil on My Shoulder” and “Viking Death March”. The album also includes two new songs, “Kingdom of Zod” and “Chasing the Sun”. It charted well in both the band’s native Canada as well as Germany and Switzerland.

Whether you’re a punk rocker looking to get to know Billy Talent in 14 incredible songs, or you’re a longtime fan of the band who already knows all their songs by heart, this compilation is an absolute must have. It comes in a UV matte finished gatefold sleeve and contains a
4-page booklet as well as an art print by Ken Taylor.

Repress

Following up on his contribution to the first Five Years Of Tears compilation, Randstad steps up to the bill and delivers his first solo release for Pinkman Records. 6 tracks ranging from twisted industrialized beat trax to brain melting weirdo dance. A great cross-over record for adventurous DJs and fans of the cold, minimal DIY sound of the 80s alike.

The new album from acclaimed pianist/composer/producer. 'Grains Of Gold' is a masterful collection of ambient electronica full of epic soundscapes and softly billowing crescendos. This is his first album on XXIM Records, the young post genre label launched earlier this year by Sony Masterworks and the first of its kind within Sony Music. The record was created in Hamburg during lockdown and, according to Carlsen, reflects the city's influence, a sense of being stuck in a foreign place and a longing for his hometown of Cagliari. A 10 track album released on LP and CD.

Blue Vinyl

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

'The Works and Days: The Black Sections' is a sound collage album that emerged out of the production material of the film, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin). The film — winner of the Encounters Golden Bear for Best Film at the 2020 Berlinale — is the second feature of C.W. Winter & Anders Edström. It is an eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a sound space, and of a duration. The film was named one of the Ten Best Films of the Year by critics at: Artforum, Cargo, Cinema Scope, Desistfilm, Filo, La Internacional Cinéfila, Mubi, Nobody, Senses of Cinema, and Sight & Sound.

The film is accompanied by this LP, TheWorks and Days: The Black Sections, by C.W. Winter, and the photo book, Shiotani, by Anders Edström. The album features musical excerpts from Tim Berne & Bill Frisell, Tony Conrad, Graham Lambkin, Mary Jane Leach, Alvin Lucier, Phill Niblock, Folke Rabe, Éliane Radigue, and Akio Suzuki. Producing, editing, and recordings by C.W. Winter. Mastered by Stephan Mathieu.

Winter & Edström’s first feature, The Anchorage, won a Golden Leopard at Locarno Film Festival and won the Douglas E. Edwards Independent/Experimental Film/Video Award from the Los Angeles Film Critics Association. It was named one of the Ten Best Films of the Year by critics at Cinema Scope, Film Comment, Senses of Cinema, Variety, and Indie Wire and was named Best First Film of the Year by The New York Times. Their first film, a documentary short called One Plus One 2 was made in collaboration with the late British guitarist, Derek Bailey. Their film/video work has shown at such venues as the Institute of Contemporary Art (Boston), Centre national de la photographie (Paris), Kunstmuseum Wolfsburg, Fotomuseum Winterthur, NRW-Forum (Düsseldorf), the Harvard Film Archive, Anthology Film Archives, the Wexner Center for the Arts (Columbus), Centre de cultura contemporània de Barcelona, the Tokyo Metropolitan Museum of Photography, and the National Museum of Modern Art (Kyoto).

C.W. Winter was born in California. In 2020, he completed his DPhil in Art Practice & Theory at The Ruskin School of Art at the University of Oxford. He received his MFA from California Institute of the Arts where he studied closely under Thom Andersen, James Benning, and Allan Sekula. His writing has appeared in Cinema Scope, Moving Image Source, Purple, and Too Much. He lives in the United Kingdom where he is currently a Visiting Professor at the Royal College of Art and a Lecturer at the University of Oxford.

Side A excerpts:
“Thursday, May 5, 1977 & Friday, May 6, 1977: Part 4” Performed by Tony Conrad. Used by arrangement with The Tony Conrad Estate
“Sethwork” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“Pipe Dreams” Performed by Mary Jane Leach. Used by arrangement with Mary Jane Leach
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“2011” Performed by Tim Berne & Bill Frisell. Written by Tim Berne. Published by Party Time Music BMI. Recording courtesy of Minor Music Records/Screwgun Records

Side B excerpts:
“Ceremoniolose” Recorded by Graham Lambkin. Used by arrangement with Graham Lambkin
“Kugiuchi” Performed by Akio Suzuki. Recorded live for TheWorks and Days Used by arrangement with Akio Suzuki
“Music on a Long Thin Wire (Side A)” Performed by Alvin Lucier. Used by arrangement with Alvin Lucier
“A Third Trombone” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“Triptych: Part 1” Performed by Éliane Radigue. Used by arrangement with Éliane Radigue

Could the missing link between Eric Dolphy and Albert Ayler be the Michel Portal of 1970? After having worked alongside François Tusques defending a free jazz “made in France”, we find him here, heading up an international quintet of which each member is on fire: John Surman, Barre Phillips, Stu Martin and Jean-Pierre Drouet. The quintet had full leeway to break out the free-form in long ambient tracks to compose this Alors!!! which leaves listeners with just one word to say: More!

Do we still need to present Michel Portal?... Clarinetist destined for the classical and contemporary world after his passage in the Paris Conservatory, he decided to try his hand at jazz, with an incendiary flamboyance! After his first experience with André Hodeir and Pierre Michelot, he would break all the codes with François Tusques (Free Jazz, in 1965) before starting the emblematic Michel Portal Unit. It is the Portal of those years that Alors!!! offers us the chance to listen to again.

“There are periods of insolence”, the musician declared and the year 1970 was one all on its own. Heading up an impetuous international troupe, a quintet consisting of John Surman (saxophones, bass clarinet), Barre Phillips (double-bass), Stu Martin (drums) and Jean-Pierre Drouet (percussion), Portal moves from alto sax to clarinet in the compositions shared with his partners.

From the off, the group sparks an explosion with the sound of “OO Bam Ba Deep” battered by the horns and percussion. Next up is the fabulous free jazz of “Yes, Oh Yes, You Wonderous Sun Kissed Maiden!” and the fantastic disjointed march of “Ça Boom?” which shakes up the musicians every which way. The quintet imagined that listeners would need to catch their breath, and thoughtfully added: “Billie the Kid” and “Undercurrent”, marvelous moments of ambient mystery.

Audacious from beginning to end, including the sleeve – the bird-man and his quintet brain designed by Avoine, –, the album is a fabulous object, to which the label Futura gave wings at the time. And as it is being reissued today there is just one word to use: the French translation of the title, So!!!

Cut is an album by Dutch hard rock band Golden Earring, released in 1982. It is one of their most popular releases to date, as it contains the international hit “Twilight Zone”, written by guitarist/vocalist George Kooymans. “Twilight Zone” reached No. 1 in both the Netherlands and Billboard’s Hot Mainstream Rock Tracks, while also reaching the top 10 on the Billboard Hot 100.

The longstanding DJ comes through with a brand new album for the modern times, keeping the tradition alive through a stacked tracklist of heavy hitters. With an extension of the popular posse cut, “Rolling 25 Deep,” DJ Kay Slay ups the ante with an 18 minute anthem, “Rolling 50 Deep,” featuring the likes of Benny The Butcher, Bun B, Styles P, Ghostface Killah, Raekwon and more. He further adds to his track record of pairing together artists for hit records with cuts from Ghostface Killah & Busta Rhymes, Conway the Machine & Sheek Louch, and Juicy J & Jim Jones.

Licensed in 1975 by Gemelli, Rendez Vous is possibly a holy grail in Nicolai’s long-running career as a composer. The orchestra director and musical editor is been active for at least 30 years and his majestic opus an overwhelming data for any avantgarde freak or moviegoer obsessed. While studying piano and composition at the Santa Cecilia Conservatory in Rome, he befriended Ennio Morricone and formed a long working relationship, with Nicolai eventually conducting for and co-scoring films with Morricone. Nicolai also scored a number of giallo exploitation films and wrote many scores for director Jesús Franco. His work was featured in the Quentin Tarantino films Kill Bill: Volume 2 and Once Upon a Time in Hollywood.

Tension! Pretty much what this whole record is all about. An imaginary soundtrack that turned out to be an in-demand obscure library, Rendez Vous shows up the many skills of the composer and his alumni. Possibly Morricone is playing muted trumpet in several episodes – Diffidenza and Subdolamente – absorbing thrilling experiences similar to the Maestro soundtracks for Dario Argento early movies (not a case that Nicolai was the conductor for several adventures in movie sound theatre such as ‘L’Uccello Dalle Piume Di Cristallo’, ‘ Il Gatto A Nove Code’ or ‘4 Mosche Di Velluto Grigio’).

Rendez Vous is now to be ranked among the most adventurous Nicolai soundtracks, a unique combination of classic contemporary arrangements and superb jazz noir sketches

The UK’s love affair with American soul music blossomed in the
mid 1960s, with the launch of the Tamla-Motown record label in
Britain. But by the end of the decade this passion took on a
distinctly homegrown twist with a new movement that grew out
of the North of England and Midlands’ underground soul and
R&B scene. It was here at dancehalls and clubs such as
Manchester’s Twisted Wheel and the Wigan Casino that
devotees danced the night away to uptempo, joyous US soul
records that always came with a heavy beat. Pretty soon the
movement had a name: Northern Soul. This collection is the
next best thing and it is all on vinyl, exactly how the movement’s
fans originally heard them

BARBARA JEAN ACKLIN was working as a receptionist at Brunswick Records in 1966 when she co-wrote “Whispers (Getting Louder)” which became one of Jackie Wilson’s biggest hits and secured her a recording contract with the label. In 1968 she hit with “Love Makes A Woman” peaking at #15 on the Billboard pop chart. “Am I The Same Girl” followed in ’69 barely breaking the Hot 100. Dusty Springfield covered the song later that year giving the singer her final chart hit, peaking at #43 in the UK. Salena Jones cut a credible jazzy interpretation in 1970 and the British pop group Swing Out Sister scored a #21 UK hit in 1992 after first hearing the song in a Manchester Northern Soul club.
Brunswick producer Carl Davis was inspired to remove Acklin’s vocal and replace it with a piano solo shortly after the original release. He called the instrumental “Soulf Strut” and attributed it to Young-Holt Unlimited providing them with a #3 hit in the USA.

Givin' It Back is the ninth album released by The Isley
Brothers on their T-Neck imprint in 1971. After years of having white Rock acts covering their most famed material, particularly, 'Shout' and 'Twist And Shout', the Isleys decided to do the same to music made famous by white artists such as Stephen Stills, Eric Burdon and Neil Young.

Among the songs they covered were 'Spill The Wine',
'Love The One You're With', the social commentary medley of 'Ohio' and 'Machine Gun' (from Jimi Hendrix), 'Fire And Rain' by James Taylor and Bob Dylan's 'Lay

The Isleys' perseverance paid off when their covers of 'Love
The One You're With', 'Lay Lady Lay' and 'Spill The Wine' became charted hits. Bill Withers plays guitar on the Isleys

- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

Batman Forever: Music from the Motion Picture is the soundtrack to the 1995 Tim Burton produced movie Batman Forever. It was nominated for multiple Academy and Golden Globe awards. The soundtrack contains a number of hit singles including; Seal’s “Kiss from a Rose” which won three Grammy Awards, an MTV Movie Award for “Best Song” and charted at number 1 in the Billboard Top 100. Plus U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” , and songs from The Flaming Lips, the Offspring, Nick Cave, Michael Hutchence (of INXS), PJ Harvey and Massive Attack. It will be pressed on 2LPs of blue and silver vinyl.

Martin Scorsese’s Motion Picture "Goodfellas" needs little introduction. It is widely regarded as one of the greatest films ever made, and the ultimate mob movie. The soundtrack features artists Tony Bennett, Aretha Franklin, The Shangri-las and many more. It is a very rare find on vinyl, having only being pressed in a couple of small runs in the early 1990s. This 1LP release will be the first global pressing and will be available on blue vinyl.

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

Few artists in the music profession are as unclassifiable as
Nina Simone. During her long career she tackled material from
a variety of styles, garnering an audience that included soul
devotees, folk followers, R&B lovers and even jazz buffs.
Embarking on this project, she joined a host of seriously
talented individuals: the likes of Ella Fitzgerald, Sarah
Vaughan, Billy Eckstine and Frank Sinatra, who had recorded,
and would continue to record, items from the Ellington
songbook for many years to come

NMB are releasing their much-anticipated fourth album, “Innocence & Danger”, on 27th August 2021. The band comprise Neal Morse, Mike Portnoy, Randy George, Bill Hubauer & Eric Gillette. With NMB’s previous two releases being concept albums, it’s perhaps remarkable that “Innocence & Danger” is a series of unrelated songs, but drummer Mike Portnoy says “After two sprawling back to back double concept albums in a row, it was refreshing to get back to writing a collection of unrelated individual songs in the vein of our first album.” Six years on from “The Grand Experiment”, Morse is more enthusiastic than ever about the talents and contribution of his fellow band members on “Innocence & Danger”: “The band is really so extraordinary – and is such an amazing team: Mike’s drums are huge, Randy’s bass playing is an ever-solid foundation and Eric’s vocals are becoming crazy good now: often I’ll sing the verse, Eric sings the chorus, Bill sings the bridge and Eric will bring it home. It seems to work really, really well. And both Bill and Eric’s soloing is amazing: they have really hit it out of the park on this record.” Available on Ltd 2CD+DVD Digipak (feat. ‘Making Of’ Documentay), Standard 2CD Jewelcase, 3LP+2CD Boxset & as Digital Album.

Let’s Face the Music and Dance is the 61st studio album by American country legend Willie Nelson and his band The Family. Produced by Buddy Cannon, this album features a collection of standards that Nelson and his sister Bobbie Nelson played throughout their careers. He recorded the album at his Pedernales studio in Austin, Texas.

Critics gave the album favourable reviews, citing how incredible it is that even at then nearly 80 years old, Nelson’s voice and guitar playing still sound fresh and timeless. The album charted in both the Billboard Top Country Albums as well as the regular Billboard 200 chart.

Jorja Smith returns to announce a new 8-track project. ‘Be Right Back’ is due May 14th and is the first body of work from Jorja since her 2019 critically-acclaimed, Mercury Prize nominated debut album ‘Lost & Found’, for which she won her second BRIT Award for ‘Best
Female’ and earned herself a nomination for ‘New Artist’ at the GRAMMY Awards.
The project finds Jorja delivering some of the most emotive and imaginative songs of her career. Over string-heavy production, she unveils a collection of songs that are diverse in their range but still extremely cohesive as a body of work - “It’s called be right back because it’s just something I want my fans to have right now, this isn’t an album and these songs wouldn’t have made it. If I needed to make these songs, then someone needs to hear them too.” - Jorja says of the project.
To coincide with the announcement, Jorja is sharing new single ‘Gone.’ Highly anticipated,
Smith states that “There’s something about being able to write about one thing and for it to mean so many different things to others. I love that this song, well any of my songs really, will be interpreted in different ways, depending on the experiences of the people listening.
This one is just me asking why people have to be taken from us.”
‘Gone’ follows in the footsteps of Jorja’s stunning March release ‘Addicted’, which also appears on ‘Be Right Back’, alongside 6 additional unheard tracks including a feature from
rising South London rapper, Shaybo on track 3, ‘Bussdown’.
Over the past three years, Smith has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through the world. Smith has graced multiple magazine covers,
performed at awards ceremonies and on late night TV, and sold out shows across the globe, now surpassing over one billion global streams. Her 2019 hit single ‘Be Honest’ featuring Burna Boy has become her biggest song to date at almost 250M streams worldwide. Smith continues to hone her craft and ‘Gone’ serves as a much-anticipated prelude for the release of ‘Be Right Back’ on May 14th.

Michael Mayer’s latest EP, Brainwave Technology, comes at you purposeful, stealthy and sly. It’s a glorious left turn for the redoubtable producer, one that sees his typically lean and lithe productions buffed to a metallic, futurist sheen. There’s a gleam in the eyes of tracks like “Brainwave Technology” and “Alpha” that speaks of serious fun, of the intersection of the pleasure zone and the frontal lobe.

“Brainwave Technology” itself is informed by Mayer’s deep dive into the thorny terrain of artificial intelligence, transhumanism and posthumanism. Inspired by reading German philosopher Richard David Precht, Mayer found himself heading down the “proverbial rabbit hole,” as he describes it, “watching hours of YouTube material by self-proclaimed prophets of these ‘inevitable’ changes to come.” Never one to be taken in by the egotist’s dance, Mayer’s cynicism about the whole endeavour is tempered, a little, by the deeper questions that these figures gesture towards: “Is it really an evolutionary step that man and machine become one? Or is it rather a marketing plot by Silicon Valley billionaires?”

On “Brainwave Technology”, Mayer plays the charlatans at their own game, turning their logic against them by exposing the fruitiness of their ‘visions’. “I chose irony as my sword with which I chopped off some quotes from some of those batshit crazy prophets and self-promoters,” he explains of the drooling psychobabble he drops in the track’s lacuna. There’s a sense of humour here – how could you not laugh at these hungover egotists? – but there’s levity too, a sense that Mayer’s using sound to expose the contradictions and double-speak at the heart of these half-formed ideas. It’s a Burroughsian tactic, to slice into the heart of the voice to see what hidden truths surface.

It was Burroughs, too, who once said that “when you cut into the past, the future leaks out”; Brainwave Technology cuts into the logic of the futurologist to leak out the messiness of modern reality. On “Alpha” and “Gamma”, Mayer seems to conjure up the stark, ominous music that’d soundtrack a science fiction reinterpretation – or preinterpretation – of our modern malaise, all funereal wreaths of electronic noise and clatterboxing beats. As the EP resolves with “Device For The Young At Heart”, Mayer’s questions are piling up: “Do we want to become immortal and live on as a download? Do we really give up on Earth and put all our effort into colonising Mars?” There are no answers, of course, but plenty of imaginings-to-be. Brainwave Technology soundtracks both dystopian and utopian possibilities of what could come next.

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

This very one Lost Boy from Brazil washed ashore the Lowlands' 'Finis Terrae', a produce of first-generation 'Shock Doctrine' and a real 'carioca' borne on the New World's 'Bossa Nova' and 'Esplendor Geometrico' of old 'Ancien Regime' para-military junta hat delivers quite some maximally dark and manic minimal wave of late, at times even slightly reminiscent of Siouxsie and the Banshees and of Joy Division, and all sung through old and charming, slightly dissonant 'Samba' melody lines vaguely hailing from certain sinister up-hill 'Cicade de Deus' margins of a distinctly distant 'Vagamundo' Purgatory past in either the Portuguese, the English or the Spanish tongues, rendering the paranoia 'facsimile in Limbo' of the coming Futurist Global Orderly State, this deep-state 'Novo Estado Novo' within the current 'Nova Bossa Nova', this 'Guerra Nova Prometheida por uma Terra Nova Prometida', the World's Electronic New Wave 'Fado' of Digital Panopticon and similar forms of purely A.I.-bot-generated (nothing personal!) Totalitarian Torture 'Technique du coup d'Etat' in genuine random numbers as already foreseen and shown to all some long time before in the Magic Green on that 'Funky Dollar Bill', 'Novus Ordo Seclorum'... Mastered by Guy Tavares

Demon Records presents the narrated TV soundtrack of a ‘lost’ four-part adventure set in ancient
Greece, starring William Hartnell as the Doctor.
When the TARDIS lands on the plains of Asia Minor, not far from the walled city of Troy, the
Doctor is hailed as the great god Zeus. He’s enlisted by the Greek army – led by Odysseus and
Agamemnon – to come up with a strategy for defeating the Trojans. With his companions already
prisoners of the opposing side, the Doctor draws his inspiration from the legend of a certain
wooden horse…
Presented across two 140g vinyl Trojan Sunset splatter discs, this 1965 TV soundtrack – no
episodes of which survive as film recordings - is narrated by Peter Purves, who co-stars as the
Doctor’s companion Steven, with Maureen O’Brien making her final appearance as Vicki. The
guest cast includes Max Adrian as King Priam, Barrie Ingham as Paris, Frances White as Cassandra
and Ivor Salter as Odysseus. Incidental music is by Humphrey Searle, and the familiar strains of
the Doctor Who theme are courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in a gatefold sleeve with fully illustrated inner sleeves. Original
episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Double Ultra Clear LP, Gatefold Jacket, Insert, Printed Inner Sleeves
A graduate from the prestigious Berklee College of Music, Ashe has been lauded by the likes of The FADER who raved about her ‘effortless voice’; People called her music, ‘deeply emotional yet so fun,’ Consequence of Sound
described her songs as, ‘accessible yet emotional’ and NME declared she’s ‘a
formidable new force in the pop world,’ among other accolades. Ashe’s touring resume includes performances at Coachella with Big Gigantic, and opening
slots for The Chainsmokers, LAUV, Louis The Child, Lewis Capaldi and more.
On TikTok Ashe gained 1 million followers, hitting over 2.5 billion video views
and 2.5 million videos created. On Instagram she has over 950K followers and
growing, approaching 520K followers on Twitter, and over 7.3 million monthly
listeners on Spotify. Her double EP Moral of the Story Chapters 1 & 2 is out now.
In 2020, Ashe also released the single ‘Save Myself,’ which garnered over a
million streams a week last summer, while the official music video saw #SaveMyselfMV trend on Twitter worldwide after its debut, including the U.S. at #5.
She recently contributed an original song, ‘The Same,’ to the new film and
soundtrack, To All The Boys I’ve Loved Before, her second placement in the
wildly popular Netflix franchise.
Ashe made her stunning late-night TV debut alongside Niall Horan on The Late
Late Show with James Corden, taped at London’s famed Royal Albert Hall and
her daytime debut on Ellen at the top of 2021. ‘Till Forever Falls Apart’ is the
first hint of more exciting new music which Ashe and FINNEAS recently performed on Jimmy Kimmel Live! Ashe’s debut album Ashlyn includes 14 songs
which she describes as ‘...deeply reflective and honest, full of stories of my
experiences with fear and pain and turning those hard things into joy and independence.
I’m an experiential writer and there was no way I was going to make an album
that didn’t address my personal journey, from my brother’s death this last year
to my own experiences with emotional abuse. I think you have to be vulnerable
to create something really great and I believe I did that. Writing this album was
also an opportunity to show that I’m not just a songwriter and a singer but a
producer and a musician with a very clear vision for my art.
Joni Mitchell refers to herself like a bee, gathering stories like pollen and trying
to make honey from it, ‘whether or not the flavor suits people is something
beyond my control.’ I really tried to take that approach to writing this album,
making something I loved above everything else. I couldn’t be more proud of
Ashlyn and I hope many people happen to love it too.”

JACKIE WILSON – aka “Mister Hitmaker” – scored Brunswick Records 50 chart singles during his 20 year solo career. “I Get The Sweetest Feeling” is both one of his best known and most loved recordings, originally taken from his 1968 album of the same name. Coupled with “Nothing But Blue Skies” it only managed to reach #34 on the Billboard Hot 100 at the time of release and a more respectable #9 in the UK some four years later in 1972. Ironically it was your very own Passion Music who achieved the most success with the song just missing the top spot, stalling at #3, in 1987. It was also Passion Music that gave Jackie, posthumously, his only #1 pop hit with a reissue of “Reet Petite” in 1986.
“IT ONLY HAPPENS WHEN I LOOK AT YOU” is the perfect feel-good floorfiller from the perfect soul vocalist. The song was originally recorded by Aretha Franklin in 1975 for her Atlantic album ‘You’, but it is Jackie’s more upbeat version that captured the Northern Soul hearts. It was released on UK Brunswick in 1977 and was to be Jackie’s final 45. It eluded a US release and appears here – for the very first time – on the official American Brunswiuck label design.

WALES WALLACE – was riding high in the Billboard Hot 100, as part of the Chicago group The Steelers, when he signed to Brunswick Records in 1969. The group had hit with “Get It From The Bottom” but Wallace fancied a solo career. He recorded three discs for Brunswick subsidiary’s Bashie, Dakar and in 1972 he launched the BRC label with “Somebody I Know”. This fabulous slice of Chicago crossover soul was produced by Eugene Record and has soared in demand in recent years.
WALTER JACKSON – signed to Columbia in 1962 and released a slue of records, initially on the parent label, and then its subsidiaries Okeh and Epic including “Where Have All The Flowers Gone” and the awesome “It’s An Uphill Climb To The Bottom”. After label hops to Cotillion, USA and Wand, Jackson found himself at Brunswick in 1973 where, later that year, he released the amazing “Let Me Come Back”. This rare, crossover-delight, was written by the legendary Jeff Perry and produced by Carl Davis and Sonny Sanders, add to that Walter’s supreme vocals and you have one of the finest Chicago mid-temo recordings of the early Seventies.

Von Annie Mac, Bonobo und Gorillaz bis hin zum Billboard, NME, Crack, Mixmag oder DJ Mag wird TSHA als eines der aufregendsten Talente aus Großbritannien gehandelt. Ihre kommende EP, „OnlyL“, die am 27. August 2021 auf Ninja Tune erscheint, zeigt eine selbstbewusste Kreative, die ihr eigenes Gefühl und ihren Sound ständig weiterentwickelt und verfeinert.

Die Veröffentlichung folgt auf einen fulminanten Lauf der jungen Künstlerin, zu dem auch der Start ihrer neuen, zweimonatlich erscheinenden „Jackfruit Radio“-Show auf Apple Music gehört, die Ausstrahlung ihres ersten BBC Essential Mix’ sowie die Ernennung zum „Future Artist“ von BBC Radio 1 im Januar 2021 und zum „Star of 2020“ durch BBC Introducing. Ihre letzte EP, „Flowers“, vom letzten Jahr, schaffte es auf mehrere Jahresendlisten und wurde von Billboard, NME, NPR, Resident Advisor, Mixmag, DJ Mag und vielen mehr gelobt.
Auf dem Titeltrack der EP, „OnlyL“, zeigt sich TSHAs angeborenes Talent, genreübergreifenden, stilvollen elektronischen Pop zu produzieren. Die Vocals von NIMMO alias Sarah Nimmo und Reva Gauntlett sind ein sofortiger Ohrwurm, wobei TSHA die düsteren Lyrics einem Upbeat-Instrumental des Tracks gegenüberstellt. „Power“ spielt mit einer weiteren Liebe von TSHA: Clubmusik. „I Know“ zeigt eine weitere Facette von TSHAs außergewöhnlichen Produktionsfähigkeiten. Die hier vollzogene perfekte Verbindung von Live-Musik und Elektronik ist ein wunderschön strukturiertes und melancholisches Werk, das um ein wunderschönes Hang-Trommel-Motiv herum aufgebaut ist.

- Lilafarbenes Standardvinyl im Disco Sleeve. Artwork von Felicity Marshall.

Anlässlich des 25-jährigen Jubiläums der Spice Girls Debütsingle ’Wannabe’ (ursprünglich am 8. Juli 1996
in Großbritannien veröffentlicht) bringen Virgin / USM am 9. Juli 2021 eine neue vier Songs umfassende
’E.P’ (Extended Play) auf 12ff Picture Disc und Kassette heraus.
Neben der Original-Single und einem gefragten Remix von Junior Vasquez (ursprünglich ein Bonustrack
auf der 1996er ’2 Become 1’ CD-Single) gibt es die Original-Demo-Aufnahme und ’Feed Your Love’,
eine Ballade, die von den Spice Girls und ’Wannabe’-Co-Autoren Richard ’Biff’ Stannard und Matt Rowe
geschrieben wurde und für das Album ’Spice’ aufgenommen, aber bisher nicht veröffentlicht wurde.
Wannabe” war eine Nr. 1 Single in 35 Ländern (Quelle: Billboard Magazin) mit physischen Verkäufen von
über 7 Millionen Exemplaren. Im Jahr 2020 war ”Wannabe” der meistgestreamte 90er-Jahre-Song eines
weiblichen Künstlers auf Spotify.

American folk rock band America released their fifth studio album Hearts on March 19, 1975. Like its predecessor Holiday, the album was produced by acclaimed Beatles producer George Martin.

Hearts was an instant hit in the United States, reaching number 4 on the Billboard album chart and receiving a gold certification. Lead single “Sister Golden Hair” reached number one on the Billboard singles chart and remains one of the band’s biggest hits to date. “Daisy Jane” and “Woman Tonight” were released as the second and third single respectively.

Fun fact: the album cover was designed by Phil Hartman, who eventually left graphic design to pursue acting and went on to become a writer and main cast member on Saturday Night Live.

Vistas announce their sophomore album ‘What Were You Hoping To Find? ‘
with their second track of the year ‘Stuck In Your Head’ - an indie ear-worm
that’s arrived just in time for the summer.
This latest offering comes not long after their hotly anticipated return ‘Start
Again’, and paves the way for a busy schedule of releases prior to their album
release, due Aug 2021.
- Debut album #21 in OCC album charts - September UK tour 90% sold out
- Bristol, Manchester (Academy), London (Heaven), Birmingham, Leeds, Newcastle, Glasgow x2 (Barrowland and Ballroom), Huddersfield
- Outdoor advertising (from August 16th): Billboards in Camden London,
Glasgow, Edinburgh, Dundee, Perth. + album flyposting in London, Glasgow,
Cardiff + Pavement Stencils (cities TBC)
- TRANSMT FESTIVAL: 60x40 drums & billboards around festival site, 10-12
September