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"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

Matt Filippini is an Italian guitar player, rock songwriter and producer. After working with some local bands, he started to take it seriously when in 2001 he started to play some gigs in Italy during a masterclass tour of the legendary drummer Ian Paice (Deep Purple founder and current member since 1968 but also with Paul McCartney, Gary Moore and Whitesnake). One year later, in 2003, after writing a bunch of rocking songs and recording a demo in his home studio, Matt gave a cd with the tracks to listen to Mr. Paice who liked the stuff and agreed to record the drum tracks for the songs. So after Ian Paice recorded three of the tracks, Matt asked Glenn Hughes (Deep Purple, Black Sabbath, ...) to record vocals for two of the songs. Those became Rose In Hell and Where Do You Hide The Blues You've Got, two of the most appreciated songs from the first Matt's studio album, MOONSTONE PROJECT Time To Take A stand, released April 2006 on Majestic Rock Records. The album features other rock and roll gods like Carmine Appice, Steve Walsh of Kansas, Eric Bloom of Blue Oyster Cult, Graham Bonnet of Rainbow and many more! The album, produced and written by Filippini himself, has been acclaimed by the music press with some great reviews and adored by thousands of classic rock fans from all over the World. In 2010 Matt toured Spain and Italy with Carmine Appice., in September 2010 Matt he played a festival in Sardinia along with Roger Glover (Deep Purple), Bobby Kimball and Steve Lukather of Toto and Vinny Appice (Black Sabbath and Ronnie Dio).In 2011, Through the next few years he played with Deep Purple, Doogie White (Rainbow and Malmsteen) and Neil Murray (Whitesnake and brian May Band), as well as several gigs with Hughes and Paice. He has certainly been active these last few years! the Moonstone Project title “New Life” the full album has been completely remixed and remastered by Fredrik Folkare, featuring on the album the Rock legends Glenn Hughes, Graham Bonnet, Eric Bloom, James Christian, Andrew Freeman, Ian Paice, Ken Hensley, Carmine Appice etc.

Limited to 500 copies on gold vinyl, contains download also. A hugely influential album cited as the embryo for punk, grunge and beyond. Featuring epic 1970 concepts from this far reaching trio much praised by Underworld’s Karl Hyde, Captain Sensible, Stephen Malkmus and a host of others. ‘Thank Christ For The Bomb’ is a visionary tale of cold war fear, alienation and everyday drama. “This is a masterpiece!” NME // A thinking man’s rumination on alienation, the album is a game of two halves; side one tackling the thermo nuclear threat while side two traces riches to rags alienation in everyday London. First of a trio of ground-breaking albums that steered the band from the Blues into a heavier, more prog-based sound and a true reflection of their much-praised live sound

ANTON NEWCOMBE and DOT ALLISON just announcedthat they will be releasing an album together under the moniker All Seeing Dolls. ''Parallel' will be out in February 2025. Upfront they share the single 'That's Amazing Grace' (backed with "Siren's Echo iron Lung") and make available this 2-track 10" as a limited teaser. Anton Newcombe is the founder, the sole constant and the creative mastermind at the centre of one of music's most fascinating bands; Brian Jonestown Massacre. He's a frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father and force of nature. There have been 21 BJM albums over the last 30 years, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock'n'roll, blissed-out noise-pop and more. Newcombe has established himself as a once-in-a-lifetime talent, a revolutionary force in modern music and an underground hero. Dot Allison released her debut solo album Afterglow in 1999. Over the years she has strived to keep the listener on a journey - and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. That journey has taken her from Afterglow's broad church (trip-hop, Tim Buckley-esque ballads, dance tracks, chilled psychedelia) to the sultry synth-pop of We Are Science (2002), the lush, baroque Exaltation Of Larks (2007) and the eclectic, rootsy drama of Room 7½ (2009). After a hiatus to raise her family she returned with the graceful acoustic folk record Heart-Shaped Scars (2021) and the haunting, barely there beauty of Consciousology (2023). The range of guest stars on Allison's records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. Likewise, Allison's own guest roles with the likes of Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles & Pete Doherty, underlining the huge respect her peers hold her in.

The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. To call this pair's brand of country-rock détournement "cosmic" would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-Coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of "band's bands" like Pigeons (Soft Abuse), No-Neck Blues Band (Revenant, Locust), Rhyton (Thrill Jockey), and The Suntanama (Drag City), freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector's-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary's Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs "urban cowboy" and finger-picked primitivism. A string of cryptic appearances soon followed, including a short-lived residency at a now-shuttered vodka dive; a micro-tour with Coloradan songstress Josephine Foster; and a series of backyard and barroom gigs sharing stages with compatriots like Stella Kola, Blues Ambush, Samara Lubelski, and Wednesday Knudsen. Heels in the Aisle is the slipshod, burnt-out, mid-'70s unter-prog comedown to their debut's backwoods, bushy-tailed, early-'70s, country-rock meanderings_expect more unrestrained riffs, artful studio wizardry, and worn-down introspection. Joining the ranks of bloodshot-eyed, blues-rock medleys à la Canned Heat's "Parthenogenesis" and Grand Funk's "Into The Sun," "The SDSPS" is the nearly side-length opening cut, an expanded song-cycle condensing and riffing on the themes of their debut. "Help Me" ventriloquizes Pomona College outlaw Kris Kristofferson's slow-roaring ballad of libidinal woe. On the flip side, "Verrazano Tile" and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune "Guabi Guabi" is a bright Dead/Feat-like jaunt with blissed-out wah-wah pay-off. "Gaslight Boulevard" is lean, mean, and eight-beers-in space rock, and the closing track "Kekule's Ring" is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie's Oil of Every Pearl's Un-Insides).

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.

One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.

A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.

Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.

Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.

Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.

Out of print for over 20 years!

Schwerpunkt Süden und Austria! Anna Buchegger bringt
frischen Wind in die österreichische Volksmusik - kühn und
selbstbestimmt. In ihrer Musik verbindet sie ausgewählte
traditionelle Elemente mit zeitgenössischen Strömungen und
erschafft einen Dialog, der die Werte von gestern und die
Dringlichkeiten von heute miteinander verknüpft. Kein Blatt
vor den Mund nehmen! – Ihre Texte spiegeln die raue Realität
wider, verpackt im dialektalen Sprachklang der Salzburger
Mundart und eingebettet im zeitlosen Bandsound der 70erJahre. Kurz gesagt: musikalisches Brückenbauen zwischen
Tradition und Innovation.

Red & Yellow Splatter Vinyl. Dan Reeder is a multi-faceted artist, recently championed by boygenius. He is Oh Boy Records longest signed artist, and was personally signed by the legendary John Prine himself. Reeder is releasing a collection of songs titled,Smithereens, an eclectic mix of songs, many recorded and played on gear he built. A true DIY maestro, Dan seamlessly assumes the roles of producer, mixer, mastering engineer, and visual artist, imbuing every facet of his artistry with his distinct touch. His musical stylings often draw comparisons to the likes of Blaze Foley, Bon Iver, Sufjan Stevens, and Ween.

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

With "The Mirrored Mask", Dutch band Harlem Lake announces their highly anticipated second album, set to be released on September 27th under Jazzhaus Records Following their critically acclaimed debut album "A Fool's Paradise, Vol. 1" from 2021, the band from Haarlem, near Amsterdam, once again presents an eclectic mix of blues, rock, and Americana. However, Harlem Lake refuses to be pigeonholed, using these genres definitions merely as loose creative inspiration, resulting in a fresh and timeless sound. "The Mirrored Mask" is an energetic work, opening with two outstanding singles: "Carry On" and "Fooled Again." While "Carry On" impresses with powerful vocals by frontwoman Janne Timmer and sophisticated brass arrangements, "Fooled Again" showcases a funkier side of the band, with guitarist Sonny van den Berg displaying his distinct skills. The album features a wide range of styles and moods, from danceable tracks like "Beggars Can't Choose" to moving ballads like "The Thought Of You." The latter is characterized by its gentle instrumentation and melancholic lyrics, reminiscent of folk- Americana greats like Kacey Musgraves or Katie Pruitt. With tracks like "Crying In A Desert," Harlem Lake then also surprises listeners with a uniquely atmospheric road song a la J.J. Cale, complete with an impressive guitar solo. The highlight of the album is undoubtedly the title track "The Mirrored Mask," which showcases the full range of Harlem Lake's musical abilities. Concluding the album, the band presents two more highlights, "Temptation" and "Jack In The Box," skillfully rounding out the album with blues, jazz, and Americana flair. Harlem Lake, consisting of Janne Timmer (lead vocals), Dave Warmerdam (keyboard), Sonny van den Berg (guitar), Kjelt Ostendorf (bass), and Benjamin Torbijn (drums), created "The Mirrored Mask" as an album that impressively demonstrates their musical maturity and passion for songwriting. From powerful rock numbers to intimate ballads, the album offers a multifaceted listening experience that will captivate both fans and newcomers alike. Known for their dynamic live performances as winners of the European Blues Challenge 2022, the band will be presenting the songs from "The Mirrored Mask" on an extensive tour through Europe.

“Big City Blues” is the title of the new – fifth – album by the Antwerp band Handkerchief , which will be released on September 27. As the title suggests, the big city now plays a more central role in the band's world. This results in a harder rocking sound, more guitars, but
still the bluesy feeling with a steamy horn section and the rough voice of Christof Annaert, which also sounds like he has single-handedly cleared every dark alley in the big city of every possible scum.

Their latest albums “Mutiny Ballads & Fishguarding Songs” and “Ghosts of this Town” were particularly well received by the press and fans. Singles such as “They Drive by Night”, “Human Sense” and “Lucky Day” were regularly heard on national radio: including Willy,
Radio 1… and the band played dozens of shows in Belgium and the Netherlands. This fall the band will go on tour to present the new album.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.

ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.

After Prince Istari finished the Dub Encounter with Erik Satie, he
immediately set to work on expelling the evil curse of artificial intelligence. While the encounter with Satie was guided by the original
compositions, this album delves deeper into dub science.

The opening track is "Curse Of Machine Learning," a grinding cumbia dub track that sucks you into the curse of machine learning. It's followed by "Artificial Neural Network," arguably the album's most nerve-wracking track, with wild snare rolls colliding with offbeat echoed riddim sections. "Large Language Models" offers a more relaxed, arabesque one-drop riddim with speech synthesis vocals. "Fake Image" closes the first side with a full trombone solo contributed by Eugene Rosebud.

Side B starts with the one-drop killer tune "Haunted By Delusion,"
featuring an organ solo by Prince Istari. Drum and bass in your face.
"Evil Forces," on the other hand, is a fusion of jazz and dub; after the
brass section breakdown, it rolls into a crazy synth solo. Then next „I
Want Your Data" pulls your data into the AI's guts with a vibraphone.
This is maybe the ambitious tune on the record speaking of chord
progressions. The final track sees Eugene Rosebud return with a double trombone solo in "Transhuman Feedback Rock" assisted by a saz cooling the blues pattern with a hookline. Here we have beautifull springreverb and harmonizer dub effects on the snare twirrling around the trombone solos.

All tunes composed, arranged, conducted and engineered by Prince Istari and played by his house band The Virtualistics. Trombone Solos by Eugene Rosebud. Packaged in a nice cover drawn by Markus Schäfer and frequency shift and cut by LXC.

Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.

Repress! Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players—Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them—through warm, smooth versions of songs by The Beatles (“She’s Leaving Home”), Donovan (“Mellow Yellow”), Joan Baez (“North”) and Jefferson Airplane (“Today”), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic “T.R.O.Y.” Resurrected, refurbished and remastered by the talented folks at Get On Down, Scott’s debut record sparkles with a high quality digital audio transfer from the original master tapes and is packaged in a gatefold paste-on case with a dust sleeve and obi strip. Don’t let this “Breeze” pass you by.

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat.

The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.

Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Acclaimed folk-blues singer/songwriter Luke Winslow-King has recently inked a significant deal with the iconic Bloodshot records, coinciding with the label’s 30th anniversary, and marking a revival in the institution’s trailblazer history of outlaw country, folk roots, and rock n roll. To celebrate this exciting collaboration, Luke Winslow-King is set to embark on a midwest tour with guitar maestro Roberto Luti of Tuscany May 17 - June 1 of 2024. Tuscan Slide Guitar Maestro Roberto Luti is a founding member of the Playing For Change band and has collaborated with legends such as Taj Mahal, Keb Mo, Keith Richards, Ringo Starr, Dr. John and numerous others, accumulating over 100 million plays on YouTube. His unorthodox, angular and evocative slide guitar style is based on Mississippi and Chicago blues and is infused by soul and African roots traditions. Fans can expect the sincere and heartfelt roots blues stylings King has become known for, showcased alongside his continual artistic reinvention.

Jon Spencer teams up with Kendall Wind and Macky Spider Bowman - the rhythm section from Woodstock NY punk rock wunderkind The Bobby Lees - to chew bubblegum and kick ass. Two years after “Spencer Gets It Lit” (Marc Riley’s BBC6 Music Album of the Year, “hugely entertaining” MOJO, “a sonic witchdoctor who’ll blow your mind” UNCUT) there is still more work to be done saving rock'n'roll music. “Sick of Being Sick!” will be released on limited clear 45rpm Super-Stereo cut LP. Jon Spencer has been innovative force in the independent music scene since the mid-80s. An acclaimed live performer, he has toured all the continents except Antarctica and has amassed a dizzying discography as the leader of Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash, and Jon Spencer & the HITmakers, as well as with Boss Hog, The Honeymoon Killers, The Gibson Brothers, and Taxi Girls. His collaborations include (but are not limited to) working with Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D, Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Khan, Moby, Money Mark, The Muffs, The North Mississippi All Stars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams, and Bernie Worrell. His production credits include: Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees, and Samantha Fish & Jesse Dayton.

After years of visiting graveyards, combing through haunted houses, and pursuing (heh heh) dead ends, we finally tracked down the rights to the legendary Frankie Stein and His Ghouls series! Why did we risk life, limb, and livelihood to find these records? Well, first of all, long-time Real Goners know we LOVE these campy ‘60s takes on horror rock—witness our previous macabre moves into the Zacherle, Munsters and Groovie Goolies franchises. But there’s something extra special about these Frankie Stein and His Ghouls records. You wouldn’t think that Halloween records released by a subsidiary (Power Records) of a children’s specialty label (Peter Pan Records) would be so…er…visceral, but these records are definitely the most out there of their kind. And there might be a reason for that…you see, it has been revealed that the Power label enlisted the aid of some very, very interesting musicians for some of its projects. For instance, the imprint’s 1966 album Batman and Robin by The Sensational Guitars of Dan and Dale was actually produced by Tom Wilson of Bob Dylan, Velvet Underground, and Mothers of Invention fame—and the band was made up free jazz legend Sun Ra and members of The Blues Project! Which has led to all sorts of speculation about who Frankie Stein and His Ghouls actually were; among the names bandied about are guitarist Duane Eddy, jazz saxophonist Max Greger, and, yes, Sun Ra and the Blues Project again. At any rate, prepare yourself for frenetic rock-and-twist workouts punctuated by deranged howls and shattering sound effects. And with a back story like this, it’s no wonder original copies of these albums sell for downright horrifying prices…here come the last two for a truly fiendish finale!

Shadows and Light is the second live album by Canadian musician Joni Mitchell. It was released in September 1980 through Asylum Records, her last release for the label. It was recorded in September 1979 at the Santa Barbara Bowl in Santa Barbara, California.3

For the album, Mitchell was backed by a band of acclaimed jazz and fusion musicians consisting of guitarist Pat Metheny, bassist Jaco Pastorius, drummer Don Alias, keyboardist Lyle Mays, and saxophonist Michael Brecker. Additionally, vocal group the Persuasions appear on the title track and a cover of Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love".


[a] a1. INTRODUCTION [1:51]
[b] a2. IN FRANCE THEY KISS ON MAIN STREET [4:14]
[c] a3. EDITH AND THE KINGPIN [4:10]
[d] a4. COYOTE [4:58]
[e] a5. GOODBYE PORK PIE HAT [6:02]
[f] b1. THE DRY CLEANER FROM DES MOINES [4:37]
[g] b2. AMELIA [6:40]
[h] b3. PAT’S SOLO [3:09]
[i] b4. HEJIRA [7:42]
[j] c1. BLACK CROW [3:52]
[k] c2. DON’S SOLO [4:04]
[l] c3. DREAMLAND [4:40]
[m] c4. FREE MAN IN PARIS [3:23]
[n] c5. BAND INTRODUCTION [0:52]
[o] c6. FURRY SINGS THE BLUES [5:14]
[p] d1. WHY DO FOOLS FALL IN LOVE [2:53]
[q] d2. SHADOWS AND LIGHT [5:23]
[r] d3. GOD MUST BE A BOOGIE MAN [5:02]
[s] d4. WOODSTOCK [5:08]

Limited coloured vinyl release of The Living Infinite originally released in 2013 from Swedish melodic death metal band Soilwork, replacing the sold out vinyl versions, to keep this album available on vinyl during their tour in Europe in October:

Die limitierte Deluxe Edition von Archives Vol. III enthält Aufnahmen und Filme, die

die unangekündigte Bandbreite von Young’s Bemühungen aus der Zeit von 1976-1987 zeigen. Es ist eine der umfangreichsten Anthologien in seiner aufgezeichneten Geschichte. Insgesamt sind es 22 Discs, davon 17 CDs in 11 Softpaks und 5 Blu-Rays in 3 Softpaks. Es sind 11 Filme auf Blu-Ray, davon 4 bisher unveröffentlichte. Die insgesamt 198 Musiktitel enthalten 121 bisher unveröffentlichte Live-, Studio-, Mix- oder Schnittversionen und 15 bisher unveröffentlichte Songs, die hier zum ersten Mal überhaupt. 62 Tracks waren bereits auf verschiedenen Aufnahmen erhältlich. Die Blu-Rays enthalten 128 Tracks, über 14 Stunden Film. Die Box enthält außerdem ein 176-seitiges Buch und ein Poster. Mit über 28 Stunden können Sie von New York nach Denver fahren, die ganze Zeit hören und bei Ihrer Ankunft immer noch Stunden übrig haben.

Die Geschichte von Canned Heat ist auch gleichzeitig die Geschichte von Exzessen, Drogenmissbrauch, psychischen Erkrankungen und Tablettensucht, verbunden mit der Affinität für bandinternen Begräbnisse. So sagte erst vor kurzem Drummer Adolfo "Fito" de la Parra in einem Interview: "Ich bin nach über 55 Jahren noch immer bei Canned Heat. Überhaupt noch am Leben zu sein, ist hier schon ein Triumph". Schließlich war Fito seit dem zweiten offiziellen Album der Band "Boogie With Canned Heat" mit dabei, das 1968 auf dem US-Label Liberty veröffentlicht wurde. 1970 erschien "Future Blues", das erste Album mit dem neuen Gitarristen Harvey Mandel. Mit "So Sad (The World"s in a Tangle)" enthält das Album den ersten Umweltschutz-Song der Band. Es handelt vom ständigen Smog über Los Angeles. "Let"s Work Together", eine Coverversion von Wilbert Harrisons "Let"s Stick Together" aus dem Jahre 1962, wurde für Canned Heat weltweit zu einem Top Ten Hit. Im gleichen Jahr folgte der Konzertmitschnitt ""70 Concert: Recorded Live In Europe". Aufgenommen an verschiedenen Orten während der Tournee durch Europa (u. a. der Londoner Royal Albert Hall), ist dies das erste offizielle Live-Album der Band und gleichzeitig das letzte Tondokument von Canned Heat mit Alan "Blind Owl" Wilson, der im September 1970 an einer Überdosis Tabletten starb. Mit "Final Vinyl" veröffentlichten Canned Heat vor kurzem ihr letztes Album; "Future Blues" und ""70 Concert: Recorded Live In Europe" gehören zu ihren essentiellen Alben, als die Band in ihrer Keybesetzung mit Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel und Larry Taylor Ende der 1960er / Anfang der 1970er Jahre den Zenit ihres Schaffens erreicht hatten. Wilsons Tod hinterließ eine Lücke, die nicht mehr zu schließen war, zumal auch Larry Taylor und Harvey Mandel kurz zuvor Canned Heat verlassen hatten, um sich John Mayalls "USA-Union"-Band anzuschließen.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Few bands have as enduring a legacy in the acoustic/newgrass/jam band
scene as Colorado-based Leftover Salmon
Carrying the torch passed down by the progressive bluegrass pioneers, The
Seldom Scene and Newgrass Revival, Leftover Salmon are true architects of the
contemporary jam grass scene, inspiring the careers of a generation of artists
ncluding Billy Strings, Greensky Bluegrass and Yonder Mountain String Band.
On 'Grass Roots', Leftover Salmon reflect on its bluegrass and festival
campground origins with a set of songs that draws from the repertoires that The
Salmon Heads and The Left Hand String Band played when they first jammed in a
Telluride Bluegrass Festival campground. Collaborating with jam scene icons
Billy Strings, Oliver Wood, and Darol Anger, and with the recent addition of Jay
Starling on resophonic guitar, lap steel and keys to the band's official line, Leftover
Salmon have all the instrumental firepower needed to deliver hard driving
versions of bluegrass standards and grassed- up versions of songs from Bob
Dylan, David Bromberg, and The Grateful Dead. Now available on Limited Edition
Banana Yellow Vinyl
Now available on Limited Edition Banana Yellow Vinyl

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

180gr Tiger Splash LP (orange-red w/ yellow & black splatter) im Gatefold-Sleeve mit Insert

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

Special Collector’s Edition: 180gr Tricolor-Rainbow-LP + CD + Poster + signed trading card + Sticker + im Gatefold-Sleeve mit Insert

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

Due to popular demand "Live In London," the highly anticipated release from legendary British Reggae group Aswad is now in physical form! This album marks a new era for the band, their first feature release in over a decade, making it a poignant moment in their storied career. With the passing of the late great Angus "Drummie Zeb" Gaye, this album stands as a powerful tribute to his memory, indomitable spirit and will for the work to continue. Passionately produced by principal members Tony Gad and Soloman, recorded in the heart of London at the iconic Jazz Cafe, this electrifying album captures the essence of the British-born reggae movement at its finest. Mixed by Christian Cowlin of The Wailers and mastered by Mark Gittins at Sensound Studios, each track from "Babylon" to "Just A Little Herb" shines a beacon on the band's unparalleled musicianship and electrifying stage presence. Don't miss your chance to be part of reggae history and experience the power of Aswad like never before! Exclusively from SMC Records, a division of The Spaine Music Company.

Die legendäre Swamp Blues Band aus dem New York der Neunziger, THE CHROME CRANKS, setzte sich zusammen aus Peter Arron, William Weber (G.G. ALLIN&THE MURDER JUNKIES), Jerry Teel (HONEYMOON KILLERS, BOSS HOG, JERRY TEEL&THE BIG CITY STOMPERS) und Bob Bert (SONIC YOUTH, PUSSY GALORE, FIVE DOLLAR PRIEST). 1994 nahmen sie im WMBR Studio in Boston auf und verließen es mit zehn neuen Tracks im Gepäck, ihre bis dato brutalsten, lautesten und intensivsten Songs. Endlich auf Vinyl mit großartigem Artwork und bisher ungesehenen Bildern!

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Crystal clear vinyl, limited to 200 copies. HEBI KATANA's 3rd full album, known as "Tokyo Samurai Doom"! The classic doom riff and mellow and dark melody reminiscent of THE OBSESSED and TROUBLE have become a hot topic mainly overseas. Both works have been released on CD/LP/cassette by domestic and international labels. Their dark yet melodious doom sound attracted attention, especially among doom/stoner enthusiasts around the world. This work, which is the third album, maintains the classic doom/hard rock sound that has been created up to now, but it also has a strong jam feeling honed through expeditions including overseas tours, and the band ensemble is truly impressive. It is a work of art. Coupled with member changes, the content gives a sense of significant growth and progress. In addition, the songs created through collaboration with seasoned live acts have a more vivid finish. Through songwriting that involves everyone's participation, each band's colors and characters are strongly reflected, and it can be said that the band is exploring a unique sound based on the doom/stoner sound. "Hallelujah Anyway" is a straightforward attack with a classic heavy riff and mellow chorus, "Depressed Blues" is a combination of a mid-tempo heavy riff and dark vocals In the second half, "Darkest Priest" develops into a more doomy shuffle boogie, and "Lost" drifts from a dark arpeggio-driven melody to a heavy and sinking development, and the songs included are rich and fulfilling. The yellowtail is something to behold. The rapid advance of "Tokyo Samurai Doom" begins now!

BBsitters Club is a rock band based in Chicago that features Doug Kaplan and Charlie Olvera on guitar and vocals, Max Allison on bass, and Paul Birhanu on drums. As the label’s de-facto in-haus band, BBsitters Club satisfies Hausu Mountain co-founders Allison and Kaplan’s urge to remain connected to the rock and roll music they grew up loving and playing — far across the spectrum from the experimental electronics featured on the lion’s share of HausMo releases.

A solid four years after the one-two-punch releases of BBsitters Club & Party, the band’s 2020 debut studio album, and Joel’s Pick’s Vol. 1, the first volume in a series of audience-recorded live takes from shows around Chicago, we find the BBs reviving the Joel’s Pick’s series with Vol. 2. Charged with the energy of a close-knit group of friends willing to follow along with each other’s most outlandish ideas both in composition and live performance, JPV2 offers us a bewildering yet always tongue-in-cheek palette of ideas cherry-picked and mashed together into amalgams that both embrace “rock traditions” and defy them with a cherubic grin.

BBsitters Club’s amorphous compositions land somewhere between the world’s most baked prog band and a jamband that’s never content to lapse into wheel-spinning complacency. On JPV2, BBsitters Club cartwheel between eras and styles of rock music with abandon — a TV stuck flipping channels after your dad falls asleep with one leg on the remote. We encounter the elliptical dueling guitars and autumnal atmospheres of midwest emo / math rock, the gregarious stomp of electrified country rock, blues rock that has melted from ingesting one too many hallucinogens, and fried Devo-style art punk that breaches into the realms of ska before melting into free-form noise rock flecked with the bizarro imitative instrument tones of Kaplan’s MIDI guitar.

Previously Unreleased Recording. Limited to 1200 copies on transparent cherry vinyl. Tip-on jacket, Download code. Insert featuring LP sized original art by Grungie O'Muck. Includes the original recording of Richard Tucker's "Are You Leaving For The Country", later covered by Karen Dalton, and the only song co-written by Karen & Richard, "Sleeping In The Garden". "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." -Mike Jahn / New York Times (1970) "For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." - Grungie O'Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one. Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots - The Gaslight, The Bag I'm In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with Peer-Southern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced. Some of the songs were re-recorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam "One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we've ever heard. Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They'd recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio" (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals. Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert's own songs were garnering attention from publishers. According to Bert, "I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss. Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as prog-rock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct." Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?" "The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of song-slingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! - Loudon Wainwright lll