Cerca:bond

70's Movie Hits Collected is a compilation of Coloured Vinyl, High Quality, Insert 33 pop tracks released as 2-LP on 15 Dec 2023. 70's Movie Hits Collected includes a.o. the following tracks: “Giorgio Moroder - Chase (from "midnight Express")”, “Mick Jagger - Memo From Turner (from "performance")”, “Mike Oldfield - Tubular Bells (from "the Exorcist")”, “Isaac Hayes - Theme From "shaft" (from "shaft")” and more.

EASYGOING PORTRAIT OF DOWN-HOME SOUL SINGER COMING INTO HIS OWN AND ESTABLISHING AN INDELIBLE BOND BETWEEN PERFORMER AND AUDIENCE
1/4" / 15 IPS / Dolby A analogue master to DSD 64 to analogue console to lathe


On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall is a forgotten classic – an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the sound-staging, this reissue takes you inside the venue.

Moreover, aspects that really make this concert document unique – the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans – are brought into fuller relief. While most live albums give you the sense of what transpired, our reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.

The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply "on."


"One more time?" Withers asks in response to a request for another stanza during "Use Me," and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar "Ain't No Sunshine," poignant "Grandma's Hands," and all-time favorite "Lean On Me" are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

After her stunning and well acclaimed debut album 'For Trainspotters Only' Ann Eysermans now releases 'Moonlight Shadoh', a tribute to her dog Shadoh. A record on which she explores the bond between herself and her faithful canine friend, Shadoh, through an extraordinary musical odyssey.

Ann Eysermans masterfully weaves together a tapestry of field recordings, candy-like harmonies,and Shadoh's distinctive houndly expressions. Creating otherworldly compositions that transcend genres which include recorded and integrated snarling feedback sounds. From the hauntingly beautiful melodies to the experimental sonic landscapes, every track tells a story that resonates deep within your soul.

Feel the heartbeat of Shadoh as his barks, whimpers and playful antics merge seamlessly with Ann's soothing vocals,harp and viola da gamba. These evocative arrangements will transport you to a realm where the bond between human and dog is translated into an aural spectrum swaying between desolate harp sounds, recollecting the eerie Jandek spirit lacing with doomy, and catchy as hell, new beat vibes.

Moonlight Shadoh is an exceptional journey blending acoustic instruments, phonic melancholy, analogue tape footage of Ann's personal sound archive and audio poetry.

RIYL:
Cross dressed Jandek in a vegan mood, Claire Rousay on expired XTC, Andy Stott with a hangover, William Bassinski on a happy moment, Kali Malone discovering new beat, Mica Levi in a dog shelter and other excellent music.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Emerging from the depths of Cardiff’s burgeoning music scene, heirs to their country’s lineage of storytellers, are Slate. Formed by frontman Jack Shephard and drummer Raychi Bryant, the four-piece band are barely touching their twenties, but together, they have command of post-punk which rings with the gravitas of a death knell; a grasp of atmosphere and melody which touches on the ethereal.

With the addition of bassist Lauren Edwards and guitarist Elis Penri who completed the band at the end of 2021, the four bonded over the written word playing poetry games over pints. Together, they found an affinity with the surreal works of Arthur Rimbaud and the Welsh poets R. S. Thomas and Dylan Thomas, whose reverence for their country and its people bleeds into Slate’s own lyrics.

The 7" collects Slate's stunning 1-2 of debut singles 'Tabernacl' and 'St Agatha', which were both produced by Buzzard Buzzard Buzzard's Tom Rees. Both songs come loaded with frontman Jack Shephard's distinctive, poetic drawl, blistering yet gothic and ornate guitars and rollicking, road-ready drums. Together they offer a snapshot of a band born fully-formed and prove a statement of intent that's hard to ignore.

Of the track, Shephard explains: "'St Agatha' is the first song we wrote about being Welsh. Though, living in in the south, we each converge at the forefront of anglicisation. At the time of writing, we were indulging in literature, landscapes as well as each another, in an attempt to re-connect with much of our disregarded national identity. So much was left unrevealed to us in school. We read about a churchyard on the border, where some people are buried with their heads in Wales and their feet in England. It was the perfect place to tell the story of a conflicted protagonist. Severed at St Agatha’s, between there and the homeland

Tape

Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.

Masterpiece, Big Thief's debut album, is -lled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake o­ the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.'

Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies.

Having met as teenagers touring the late-‘90s North American post-punk scene, guitarist/vocalist Sean Madigan Hoen and drummer Dan Jaquint established an ongoing musical collaboration that for years remained a mostly-private endeavor relegated to cassette-only releases. After living together in Brooklyn, the duo found themselves returning to their home state of Michigan in 2018 where they reconnected with Detroit’s music scene and formed KIND BEAST. Taking its name from the writing of Carl Jung, KIND BEAST is at once a distillation of several decades of electric guitar music and a lyrical exploration of shadow themes and deep-psyche explorations. Described by NPR affiliate WDET as “perfect for late-night freedom cruising on the outskirts of town,” the music is sophisticated and nocturnal, metabolizing ‘70s arena rock and Krautrock as readily as the post-Fugazi cannon on which its members were raised. What commences is a vast blending of rock swagger infused with a distinctly-Detroit eeriness, set to Hoen’s (a widely-published author) imagistic lyrics. Joining Hoen and Jaquint are bassist Sean Bondareff (known for a fifteen-year stint with Mitch Ryder and The Detroit Wheels) and guitarist Martin Rodgers, fifteen years younger than the other members and who has made a name for himself as one of Detroit’s most talented guitarists. KIND BEAST pays little homage to Hoen and Jaquint’s teenage bands (Thoughts of Ionesco and Small Brown Bike, respectively) and finds itself most often compared to mature constituents of the rock/pop pantheon such as Arctic Monkeys, Spoon, and Queens of the Stone Age while discerning listeners pinpoint a deeper influence of the great indie labels of yore (Touch and Go; Dischord).

First-ever vinyl repress of Sheena Easton’s hit 1983 album.
• Remastered from the original master tapes and pressed
on white coloured vinyl with refreshed artwork including
new inner sleeve.
• Includes the US smash singles ‘Almost Over You’ and
Grammy-nominated ‘Telefone (Long Distance Love
Affair)’ as well as her stunning take on the Dusty
Springfield classic ‘Just One Smile’.
Sheena Easton rocketed to overnight fame in 1980 with the BBC
broadcast of The Big Time - arguably the first pop reality show -
subsequently breaking records with her first two singles ‘Modern
Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within
a year, she had topped the US Hot 100 with the renamed
‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For
Your Eyes Only’, released two platinum-selling albums and
become an international sensation.
1983 proved a pivotal year for Sheena as she fully embraced her
burgeoning US stardom following a sell-out US tour, hit TV
specials and regular primetime appearances. ‘Best Kept Secret’
was her first album recorded Stateside. Working with red-hot
producer Greg Mathieson (fresh from holding down the top two
slots with Toni Basil and Laura Branigan) and Grammy-winner
Jay Graydon (Earth Wind & Fire, Dionne WarwickJ) the album
repositioned Easton as a youthful new wave stylist - as capable
of rocking hard on cuts like ‘Devil In A Fast Car’ as she was in
nailing a soaring Streisand-style ballad like the top 5 AC smash
‘Almost Over You.’ Lead single ‘Telefone’ was an out of the box
smash - reinstalling Sheena in the US top 10 pop and establishing
her as heavy rotation MTV star and dance chart regular.
This is the fourth in a series of remastered vinyls of her 1980s
albums, and part of Cherry Red’s on-going reissue campaign of
the star’s EMI catalogue in association with RT Industries.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

Oddisee's breakthrough album: Imbued with love, honesty, and selflessness, The Good Fight is virtuosic in its musicality, direct in its language, and infinitely relatable In a landscape overrun with abstract indulgence and shallow trend-chasers, the Prince George's County, Maryland artist has created a record that reminds you that it's music before it's hip-hop. For Oddisee, "The Good Fight" is about living fully as a musician without succumbing to the traps of hedonism, avarice, and materialism. It's music that yields an intangible feeling: the sacral sound of an organ whine, brass horns, or a cymbal crash. It's a meditation on our capacity to love and the bonds binding us together. It's our ambition and greed warring with our sense of propriety - a list of paradoxes we all face when living and striving. Oddisee's production simmers in its own orchestral gumbo. You sense he's really a jazzman in different form, inhabiting the spirit of Roy Ayers and other past greats. The Fader's compared him to a musical MC Escher, calling hailing his "grandiose and symphonic sound" and "relevant relatable messages." Pitchfork praised his "eclectic soulful boom-bap.

Emerging from the cold echoes of Reykjavík's underground music scene, ex.girls, previously known as Russian Girls, chart an inspiring journey from inception to international recognition. Founded in 2017 as a personal venture by Guðlaugur Einarsson, the act soon evolved into a vibrant, collaborative platform for kindred spirits bonded by an unyielding passion for music.

The project consists of three: frontman Tatjana Dís on vocals, alongside Guðlaugur Einarsson and Gylfi Sigurðsson. Their kinship took root at their erstwhile studio on Skúlagata in Reykjavík, where this creative sanctum became a melting pot of musical exploration, learning, and leisurely hangouts. Guðlaugur and Tantjana also ride the waves as members of the rock band Skrattar, whose album 'Hellraiser IV' saw Bjarki's experimental bbbbbb recors imprint venture outside strictly electronic music for the first time in 2021.

Despite their penchant for maintaining an enigmatic aura, ex.girls won the ‘Best Icelandic Electronic Music Song’ in 2022 with their anthem, 'Halda Áfram', released during the backdrop of the COVID-19 pandemic on bbbbbb recors, which translates to “keep on going”, became a beacon of hope during tough times in the Icelandic music scene. Their distinctive sound palette paints with broad strokes of lush arrangements cemented with a lo-fi disposition. It's a soundscape where the rumble of a crunchy bass meets a quirky sprinkle of Nordic humour, a signature style they fondly dub as 'SauerLounge'.

While the group has traditionally embraced a leisurely cadence in unveiling new music, anticipation bubbles as they gear up to their debut album, ‘Verk’. A twelve-track exploration of experimental, conceptual and unorthodox textures and sonics, with sounds and influences spanning rock and nu-wave through to electro, drone and ambient. The result? An absorbing and hypnotic trip, with twists and turns across every track, presenting a debut album that keeps you guessing minute by minute.

To be released in both vinyl and digital formats, the album will also welcome engaging remixes from artists native to Iceland and the broader global stage. In a world of ever-evolving music, ex.girls stand out as a testament to authentic collaboration, raw talent, and the art of electronic storytelling.

ex.girls ‘Verk’ LP drops via bbbbbb recors on 24th November 2023, with remixes to follow in the months ahead.

For Fans Of... Magic Sam, Otis Rush, GA-20, Albert King, Elmore James. Never before heard blues from 1969! The 2023 RSD release is now also available on black vinyl and CD! Pressed right in Cleveland, Ohio at Gotta Groove Records. On Remined Records, Colemine's re-issue imprint. Produced by Eli 'Paperboy' Reed. Recorded by Eli's father in 1969. Tapes have been hidden for over 50 years, now being released for the first time ever. "Fred Davis was a legend, but only in my living room. As a teenager, I started digging deeper and deeper into the blues records in my Dad’s collection. That was when I started to get the Fred Davis story in fits and starts. Fred could play like T-Bone Walker and had a keen voice like J.B. Lenoir, he said. He used to front a jump band in Kansas City, before something went down that sent him to prison at Leavenworth. In the summer of 1967, he ended up working alongside my Dad at Harco, the Cleveland factory where my grandfather was an executive. They became friends, bonding over the B.B. King and Bobby Bland records blaring from the AM radio on the factory floor. Fred taught my Dad the rudiments of blues guitar, but his style. Instead of barring with his first finger, he wrapped his thumb around the back of the neck. That left his other fingers free to create big, ringing voicings that imitated the Kansas City horn sections he heard in his youth. Fred could play up and down the neck and, even when he played and sang just by himself, he sounded like a full band. Or, at least, so the legend went. These were only foggy memories from thirty years previous, passed down from a father to a son. But then we found the tape. A quarter inch reel in a plain white cardboard box, hiding on a shelf in the attic. My Dad explained how it came to exist: He found some friends (acquaintances really) who had a band and some equipment. They setup in my grandparents living room where the upright piano was, and he invited Fred over to record some of his songs with the band backing him up. We found a place nearby that could dub the tape and put it on a CD for us. When we finally got the transfer back, the legend became real. With this music now professionally transferred and remastered, I can only hope that Fred Davis can finally receive the acclaim that he deserves; that he never received in his lifetime. The legend can finally go behind the confines of my living room and, with any luck, to the whole world." Eli 'Paperboy'

140 Gram White Vinyl Limited Edition Of 1500 worldwide. Includes full album download + 2 bonus download tracks from the out of print 1999 Suz EQ /to whom it may consume 7-inch. Originally released in 2000 as Enon burst on the scene to wide acclaim +++ Pitchfork called Enon lyricist / guitarist John Schmersal “one of indie rock’s most consistently compelling songwriters.” Long, long ago, at the beginning of the new millennium, the world begot Enon. It was before Willliamsburg was, like, totally over, before beards made you cool, and just at the cusp of all this modern computer recording tomfoolery. What a time, before innocence lost. From all this came a much beloved and oft-overlooked record – one Touch and go is damn proud to re-issue on vinyl today – Believo! This record makes a bridge between the 20th and 21st centuries – full of effects, samples, pop sensibilities, and a complete respect for and disregard of The Rules. In 2000, Enon was all Brooklyn style, comprised of John Schmersal of Brainiac and Rick Lee and Steve Calhoon of Skeleton Key. John and Rick bonded over a penchant for suitcases full of electronics and battery powered trickery – portable musical distractions capable of making tracks on the fly. That’s what this era was all about for Enon – the suitcases, and being in the moment wherever they were. Though the band would later evolve to 2007’s lineup of Schmersal, Toko Yasuda and Matt Schulz, you’ve got to know where you’re coming from to see how you got to where you are today. So, come along with us, please, to the re-birth of Believo!

Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.

The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.

The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.

It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.

Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.

Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group

Limited to 500 copies ww. Independent heavyweights Spearmint return this year to follow-up 2021's highly acclaimed 'Holland Park', with the superb new album 'This Candle Is For You'. Spearmint have been making great records for a couple of decades now: this will be their tenth album proper. Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar, bass) and Ronan Larvor (drums). This album will be the 60th release on their own hitBACK label. Missed out so far? The new album provides the perfect place to start! The dizzying multiverse of an album covers a wide array of themes, including the search for a missing sister, the ways we remember lost loved ones, Prince's encounters with Joni Mitchell, the story of John Gavin, the James Bond star who never got to make a film, late-night drinking in Soho, the joys of B-movies & video nasties, changing attitudes to mental health, the plight and wonder of older cats, the reaction to the death of Sarah Everard, and the afterlife. Re-united with producer Rhodri Marsden (Scritti Politti), the band feel that this record is their best yet. Singer Shirley explains "We started off just wanting to make an album that would stand alongside our last one 'Holland Park', but it ended up surprising us - we love it!"

Ursprünglich im Jahr 2000 auf Vapor Records veröffentlicht. York Blvd war Acetones
letzte Platte, die sie aufgenommen haben. Wiederveröffentlichung mit einem erweiterten
Audioformat, gepresst auf zwei LPs und verpackt in einem farbigen Gatefold.

In this accompanying remix set, "Earth 2.23: Special Lower Frequency Mix", the Bug has taken a bit of "Seven Angels" and laced it with feedback and big bass, allowing grime luminary Flowdan to climb atop it with his dark, staccato visions. Responsible for many transformational records himself, Justin K. Broadrick of Jesu and Godflesh crawls inside "Teeth" to lash at it with punishing drum machines and sordid layers of new distortion, building it into some brokedown palace of industrial mayhem. Loop's Robert Hampson makes good on the premise of ambient metal with his 30-minute hypnotic beauty, while longtime Earth cohort and longtime Built to Spill multi-instrumentalist Brett Netson seems to float the sound through a benighted graveyard on his clever "Teeth" revamp. These are not obvious directions for Earth's impact. Again, Earth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don't even know there are horses on the cover. VERY limited indies only LOSER copies pressed on lovely CURACAO BLUE vinyl!

Folk duo lilo's ascent continues with second EP, I Don’t Like My Chances On The Outside. Having met at school aged 11, Christie Gardner and Helen Dixon’s friendship runs over a decade deep. Starting out with homespun recordings and YouTube covers, by the time they moved to London in their late-teens, they had an unshakeable creative bond that forms an incredible bedrock for them to flourish from. Their exceptional debut EP Sleep Country (Practise Music) came out in late-2021. Taking cues from alt-folk and classic country, it showed a maturity and dexterity that belied their years. As Loud & Quiet said of the band in a recent interview, "what sets them apart from their contemporaries is a real understanding of Americana-influenced folk’s lineage as a genre. Think Emmylou Harris’ soul bearing and the pitchperfect vocal glide of Karen Carpenter." New EP, I Don’t Like My Chances On The Outside, is a truly brilliant follow-up that underscores that we're no longing talking about promise with this duo. Working with producer friend Joseph Futák, they're now firmly in their stride, deftly counterbalancing delicate moments and harmony-led pop highs across a full-bodied band sound. Their lyrics speak for their generation too, encapsulating the panic, anxiety and love of twenty-somethings at a time of great uncertainty; from single 'Settled' where the financial realities of needing to move back in with your parents to the sheer relief of ending a relationship on 'I Don't Love You Anymore' and 'Just A Thought's failing attempts to pull a friend away from a bad person ("It's your hill to die on," they warn), nothing is off the plate.

- Ltd. BOX incl. 2CD Digibook /colored 2LP Splatter + 5 Bonustracks (nur in der Box auf Vinyl!)

Details:
2CD Digibook mit 36 Seiten und 5 Bonustracks, LP1 blau mit schwarzem Splatter, LP2 rot mit schwarzem Splatter mit 5 Bonustracks, im Gatefold mit zwei Lyricsheets, Poster, Patch, Edelstahl Kette mit Altfinish-Effekt & Plectrum

“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

Limited 2LP Edition Purple Vinyl!
“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

Repress! We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our recently launched Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On The Flip Side music is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn’t an option. Thus, Loving On The Flip Side again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime
genre we like to call “sweet funk.”
It seems laughable to skip past Thomas East’s “Slipping Around” 7” for the cheesy funk of ‘Just A Trip,” or to listen obsessively to Lou Ragland’s instrumental funk on the Hot Chocolate LP and ignore his indolent-yet-stirring “We Had True Love.” Yet we did just that, until we first heard the Darling Dears and Funky Heavy’s beautiful
two-sider nearly ten years back. This was the record that set Loving On The Flip Side in motion, as the Darling Dears and Funky Heavy’s two songs precipitated the sweet funk genre: the dichotomy of Funky Heavy’s skull snapping rhythm section and the teenage Dears’ angelic harmonies didn’t sound like anything we’d heard before. That discovery set off a decade long search for the band and culminated in their discovery, the documenting of their stories, the emergence of their master tapes and the inclusion of their songs on Loving On The Flip Side.
The excitement we felt while listening to the Darling Dears and Funky Heavy’s masterworks forced us back into the field, in search of other sweet funk swooners and beat-heavy ballads to round out this anthology. The opportunity to present anew such wondrous soul music made the exhaustive process that produced Loving On The
Flip Side worthwhile, and allowed us to collect one-offs that escaped prior investigations into the deep funk and sweet soul genres.

Scott Monteith is the Berlin-based but Canadian-born artist best known as Deadbeat. But here, for the first time in some two decades, he steps out with new alias Ark Welders Guild. It is an audio-visual performance and recording project with Italian singer and curator Letizia Trussi, whom he met in winter 2021 and has since formed a strong creative bond. They work in Trussi's Rooms of Kairos studio and have already cooked up two album length pieces that come on Monteith's BLKRTZ imprint. Mons Clepsydra is the first and is an epic drone in four parts with string recordings permeating the moody, grainy, heavy atmospheres.

Bacao Rhythm & Steel Band return with another set of covers bound to get you out of your seat and on your feet. The mysterious German steel pan outfit is working on their fourth studio album now and treat us to another must have two-sider to hold us over while they finish it. This one is sure to become another favorite among DJs worldwide. The A side finds BRSB taking on a huge hit with an eerie cover of Drake's "Hotline Bling". The intro melodica hints at the melody and when the beat drops and the top line plays on the pans all bets are off. The B side is something of a Big Crown family affair as Bacao covers "Murkit Gem" from El Michels Affair's Yeti Season album. The tune lends itself to the pans with its infectious melodies and the way BRSB plays it, it takes on a James Bond spy chase energy that works perfectly. Tracks: A Side. Hotline Bling B Side. Murkit Gem

For the last 15 years, Allah-Las have alchemically melded surf rock
washes with folk rock jangle and rock, building up their lauded music
podcast, Reverberation Radio, and record label, Calico Discos, in the
process - But a lot has changed since Matthew Correia (drums/vocals),
Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ,
vocals), and Pedrum Siadatian (guitar, synth, vocals) first bonded over
psych rock vinyl in the back room at Amoeba Records in the late aughts
Zuma 85 signals the start of a new era for Allah- Las, and finds the band
reinventing itself in defiance of the algorithmic categorization and robotic sterility.
Recorded in the midst of the shift from the Old World to whatever branch of
reality we're on now, it's a return, too: The album will be released October 13th on
their own label, Calico Discos, in partnership with Innovative Leisure, which
released early defining statements like Allah- Las (2012) and Worship The Sun
(2014)

When the two brothers Alex and Mikael Lachan grew up in the small town of
Finspang, music was the highway and the world was the destination.
Playing together in the basement every day since they were kids, they formed a
bond that would translate into an explosive live show years later. The rejuvenated
band hammers out a sound that is energetic enough to sustain a live show
revolution, talented enough to keep your attention and welcoming enough to let
your voice sing the anthemic choruses like there was no tomorrow.
Over the span of their career they have released three full length albums (soon to
be four), two EPs and multiple digital singles. They have toured Europe many
times and played with bands such as Millencolin, Street Dogs, Asta Kask and
received praise from bands such as Dropkick Murphys for their heart-and-soulpacked melodic punk rock.
Now in 2023 they are back with a brand new full length album called Wanderlust
& Hardships. Recorded with the acclaimed producer Niels Nielsen, known for his
work with In Flames, Dead Soul, Ghost, and MCC, the album showcases the
band's signature sound that blends hard- hitting instrumentals with anthemic
lyrics. Fans can expect a celebratory and energetic tone that is sure to get them
involved.

Limited repress of the post-hardcore quartets debut album """"Feel Something""""

Music and emotion share a timeless physiological, psychological, and spiritual bond. A chord, a melody, or a lyric can lift spirits and inspire. Movements achieve that sort of reaction on their full-length debut, Feel Something Fearless Records. In the sessions, their signature style crystallized and coalesced. Bolstered by intricate instrumentation and explosive vocal delivery, these 11 tracks signify the musicians' evolution and bring emotion to life in each note.

"

Dutch indie band from the south of Holland. Produced by Grammy-nominated British producer and mixer Christopher Elms (Björk, Ben Howard and A Blaze of Feather) as well as mastered by Tim Debney who worked with Thom Yorke, Mumford & Sons, Bastille and Keane, among others, and provided the mastering for the Bond tune by Billie Eilish.

The dual forces of shadow and light, despair and hope, frustration and catharsis are at play in the music of Cupid & Psyche, the Los Angeles-based indie rock duo of Michael Vidal and Juan Velasquez. First gaining recognition in the late aughts as members of the punk band Abe Vigoda, whose 2010 album Crush was named one of the "Best 50 Albums of the 2010s" by Pitchfork, the two have reunited as collaborators for the first time in a decade. Cathartic jam sessions would birth the emotionally resonant songs that appear on their debut album, Romantic Music. Though they pull from a wide array of `80s and `90s influences, Cupid & Psyche bring together these disparate moods and genres through their own esoteric lens on Romantic Music_making for a singular sound that at once feels familiar and alluringly hypnotic. Listeners will detect the gloom of post-punk and goth, the haziness of dream-pop and shoegaze, the bittersweet guitar melodies of second-wave emo, and the manic electronic rhythms of trip-hop and big beat. The immersive soundscapes on Romantic Music are sometimes agitated and driving, while other times ethereal and transcendent. This duality matches the album's lyrics of looking for a divine escape from the grim realities of existence, as well as the darkest parts of one's psyche. "The thesis of the album is trying to transcend the limits of life and the struggle therein," Vidal says. "There's a lot of lyrics about feeling trapped or frustrated, and then trying to find a way out. There's a lot of times I sing of hope and grasping towards love. But maybe in trying to escape, you take the wrong door, be it substance abuse or other vices." Now as Cupid & Psyche, Vidal and Velasquez return to a friendship that creatively feels like home_except this time, with more experience, self-knowledge, and less pressure to make anything other than the music that emerges naturally. The LP's title Romantic Music is tongue-in-cheek, since there are no love songs proper on the project, and the phrase itself can imply a kind of light listening. But it befits that deep bond that the members have, as friends who understand and empathize with each other's worst, so they're capable of bringing out each other's best.

IF you follow the smoke from the industrial work sites, wander through the empty streets of a small
town and listen after the tube amp blasting out dreams from the edge of town, you will find the spark
that started Saturday's Heroes over a decade ago. When friends get together to carry out something, it
does not matter where you are born or what type of cards you have been dealt. When the two brothers
Alex and Mikael Lachan grew up in the small town of Finspång, music was the highway and the world
was the destination. Playing together in the basement every day since they were kids, they formed a
bond that would translate into an explosive live show years later. The rejuvenated band hammers out
a sound that is energetic enough to sustain a live show revolution, talented enough to keep your
attention and welcoming enough to let your voice sing the anthemic choruses like there was no
tomorrow. Over the span of their career they have released three full length albums (soon to be four),
two EPs and multiple digital singles. They have toured Europe many times and played with bands
such as Millencolin, Street Dogs, Asta Kask and received praise from bands such as Dropkick
Murphys for their heart-and-soul-packed melodic punk rock. Now in 2023 they are back with a brand
new full length album called Wanderlust & Hardships. Recorded with the acclaimed producer Niels
Nielsen, known for his work with In Flames, Dead Soul, Ghost, and MCC, the album showcases the
band's signature sound that blends hard-hitting instrumentals with anthemic lyrics. Fans can expect a
celebratory and energetic tone that is sure to get them involved.

Capra made a name for themselves with the adrenaline jolt that is In Transmission, and return with their riveting sophomore effort Errors. Maintaining all the elements that made their 2021 debut so compelling--raucous energy, frantic riffs, the from-the-gut lyrics and soul-searing delivery of vocalist Crow Lotus—they’ve stepped things up, with stronger songwriting and a determination reach the next level. “We wanted to create something authentic, something real and honest. Nothing more and nothing less,” says Lotus. Adds guitarist Tyler Harper, “I knew that I wanted it to pick up where the first album left off, but that it needed to have an entirely new attitude. If you listen to the last song from In Transmission into the first song on Errors, it’s a continuation. From there the album steers off into a direction that still feels similar, but is new.” Coming primarily from a hardcore background but incorporating elements of metal that complement the overall tone, everything the band do on Errors resonates with emotion; nothing is forced. Kicking off with the vicious “CHSF,” which is pure sonic bile and pounds the listener, they work their way through “Silana,” with its grinding, punishing riff, and the thrashy “Kingslayer.” The LP culminates with the frankly gorgeous “Nora,” showing yet another dimension to their sound. “My main goals going in were to structure the songs to let the vocals shine more often, more breakdowns, and to keep the raw attitude of the first album alive,” says Harper. “This album is a party. A heavy, fast, fun, loud party. The first album was definitely more chaotic but this one brings something to the table for everyone to enjoy.”

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

Here's a brand-new record of straight-ahead hairy, lairy surf, punk, garage, rock n roll party music from Sir Bald/Hipbone Slim and pals! Fun all the way!!! But beware these guys just ESCAPED FROM THE ZOO!!!! Well, it certainly sounds like it! Los Hairies are led by Hipbone Slim aka Sir Bald Diddley (more info below). In Los Hairies he is joined Galicia's foremost coffee liquor and pork fuelled rock n roll rhythm section, Jorge and Martin, the infamous Lorre brothers, of Wavy Gravies, Bo Dereks, Limboos and All Night Workers infamy! Fourteen dancing party hits to rattle your braincells and blow away the proverbial cobwebs! Everyone, a hairy dance hit! From the beach party 'Twist In The Sand' through to the 'Rock n Roll' death finale, you are invited to 'Shake Your Bacon', do the 'Diddley Conga' and 'Shake It Off' with the delectable but somewhat elusive 'Ramona'. Get down with the 'Little Green Man' and his rock n roll band! Go 'Bananas with Tarzan, duel with the 'Ratfink' and the 'Hairy Surfer! Los Hairies currently remain on the run from police, animal welfare services and a growing number of angry bar owners. Beware! They are dangerous! European tour planned for Oct/Nov 2023. Recorded on tape at Bronca Studio, Porto, Portugal by Nuno Riviera (T.T. Syndicate) More Hipbone Slim aka Sir Bald Diddley info: Hipbone Slim aka Sir Bald has released over 40 albums with his various bands including Hipbone Slim and the Kneetremblers, Sir Bald Diddley, The Snags and Nine Ton Peanut Smugglers. He has worked and recorded with members of Milkshakes, 5678s, Mummies, Phantom Surfers, Big Boss Man, Holly Golightly, Ike Turner’s Kings of Rhythm and Supergrass! Shared a stage/played shows with Dick Dale, Skatalites, Toots and the Maytals, Desmond Dekker, Edwin Starr, The Trashmen, PJ Harvey, US Bonds and Richard 'Louie Louie' Berry. Championed by the likes of John Peel, Mark Lamar, Mark Radcliffe and many others he has played a number of BBC radio sessions

Greece’s ecstatic ritual singer, pianist, and ambient composer Maroulita de Kol announces her debut album Anásana, a record of deeply traditional Hellenic ceremonial cultures interwoven with contemporary experimental colour.

Athens-raised, Berlin-based Maroulita de Kol creates music formed from the ancient, pre-Christian rites and practices of Greece, newly re-presented through a contemporary lens. A former student of classical piano and voice, an unbreakable bond with her homeland


yielded an extensive and ongoing dive into the mythologies, arts and storytelling of ancestral Greece. These studies eventually guided her to the debut solo works that make up Anásana.

The instrumentation and themes of Anásana borrow both from the ancient ecstatic ritual of historical Greece and meditative electronic ambient music. Flowing lines of deeply learned piano technique clothe traditional Hellenic folksong. And while its imagery was unmistakably born in Greece, its tones are inflected by de Kol’s time in Berlin and her immersion in its electronic and experimental scenes. “My music is an act of freedom and beauty,” she explains. “Hymns that aim for the restoration of Women's faith; they can heal the collective wound of the feminine.”