Buscar:electric 6

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

For Fans Of... Monophonics, David Axelrod, The Rugged Nuggets, Adrian Quesada. Debut LP from The Ironsides. Founded and produced by Monophonics member Max Ramey. Featuring members of Monophonics, including Kelly Finnigan. Reminiscent of a cinematic soundtrack from a 60s European film. The Ironsides have arrived. Changing Light is the first full-length effort from this masterful group of Bay Area musicians. It melds classic psych-soul sounds with sweeping orchestral arrangements – reminiscent of a cinematic soundtrack from a 60s European film. The Changing Light evokes strong imagery of an open road, a breathtaking view, and scenes of a vast landscape begging to be explored. Cruise up the coast, where sweeping orchestral arrangements rise and fall with the tide. As you head North, the countryside opens to an undeniable groove. Tremolo-soaked guitar tones grow on the vines, and timeless, soulful bass lines flow like wine. In higher altitudes, French horns and trumpets soar like eagles. A river below carries bellowing cello tones through a mountain pass into an expansive canyon. Down in the desert, fuzzed-out electric guitar cuts through the dry heat and leaves the listener thirsty for more. Plot a course, or just turn on the car and drive. Max recommends the latter. "The songs are inspired by landscapes - Each one could mean something to someone and create a completely different meaning for someone else." At the end of a long road, The Ironsides have found the perfect place to begin. Also Available From The Ironsides: Changing Light 7", The Raven / Song For Adrian 7"

he Clockworks aus Irland, ansässig in London, verknüpfen Pop-Sensibilität mit lauten, von Post-Punk und Rock beeinflussten Stilen. Die Songs ihres Debütalbums wirken prahlerisch und düster, haben aber eine episch-nostalgische Qualität. Thematisch pendelt EXIT STRATEGY zwischen Emotionen, Ironie und Aufrichtigkeit, Seelensuche und augenzwinkerndem Fingerzeig. The Clockworks verbinden poetische Selbstbeobachtung mit witzigem Küchendrama, um etwas Intensives, aber Verspieltes zu schaffen. Aufgenommen in den Abbey Road Studios und Love Electric mit Hilfe der Produktionsklugheit von Bernard Butler (Suede), erscheint es unabhängig auf dem bandeigenen Label Life And Times Recordings.

- 'Wer auf Post-Punk-Acts im Stile von Fontaines DC und The Murder Capital steht, kommt aktuell an The Clockworks nicht vorbei.' - beatpol.de

In 1969, producer and boogaloo godfather Bobby Marin conceived this undeservedly obscure funky, psychedelic Latin soul gem. Released on Ralph Lew’s short-lived Dorado label and engineered by Jon Fausty, Bobby was backed by a top-notch studio band that included Ricardo Marrero, Joey Pastrana, Bernard Purdie, Louie Ramirez, Orlando Marin and Ozzie Torrens. Includes liner notes by genre expert Pablo Yglesias telling the story behind the music. 180g vinyl. Generally, when discussing the first wave of Latin soul and boogaloo, it’s the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers? One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the ‘60s and ‘70s. “Saboreando - Pot Full Of Soul”, is the album Bobby created in 1969 for his friend Ralph Lew’s newly launched Dorado label. Fifty-five years later, Bobby confirms that he commemorated his humble Barrio beginnings playing stickball on West 107th Street and singing doo-wop while some kids played percussion on junkyard drums, by christening the band The 107th Street Stickball Team. The 107th Street Stickball Team was basically the same pool of friends as Ricardo Marrero’s group (Bernard Purdie on drums, Mike Viñas on guitar, Ricardo Marrero on vibes), with the addition of Louie Ramirez playing piano and organ, Orlando Marin, Joey Pastrana and Ozzie Torrens on percussion, Mike Viñas handling the electric bass, and Butch Johnson and Danny Agosto on lead vocals for a few numbers. At that time, soul music was seen by the present Latin generation, indeed the youth market in general, as something that was different, that broke with tradition. The record, with Bobby singing several of the best tunes including ‘Mojo Shingaling’ and ‘Rhythm and Soul’, highlights an affinity or connection between African American and Cuban music in a convincing blend that was emblematic of the scene and allowed the young generation to feel they had a fresh kind of music all their own. No wonder the LP notes boast The 107th Stickball Team is “a bunch of groovy youngsters.” We are now happy to make this undeservedly obscure funky, psychedelic Latin soul gem available again!

Writing music, for singer-songwriter and producer Fine, “feels like being entrusted with a secret.” On Rocky Top Ballads, the Copenhagen-based musician’s debut album, these secrets take the form of minimalist compositions that search for glimpses of beauty in the everyday. Recorded, produced, and mixed by Fine, the album is a mystical soundtrack to a captivating songwriter’s explorations of process and intuition.

“The whole album is about the moments when you see a crack in something,” Fine explains, “where you briefly see another side of yourself or of someone you've known forever.”

Fine grew up in Denmark’s rural Northern Jutland; there, her father’s guitar and banjo playing formed the sonic backdrop of her childhood. In the years since, her musical curiosity has led her to work across a range of styles and sounds. In her early twenties, she became part of Danish electronic trio Chinah, which released three albums. You might also have caught her sampled vocals on the joyfully rollicking Two Shell song “Home,” from 2021. Then, last year, she — along with Erika de Casier and Smerz — co-wrote three songs for the massive, critically lauded K-pop group New Jeans. Fine is also a part of Clarissa Connelly Canons group back home in Denmark, and writes music under the moniker Coined with composer and songwriter Astrid Sonne.

But Rocky Top Ballads is a turn back towards a more personal, stream-of-consciousness songwriting style. Fine wrote and recorded these songs sporadically over the course of the last few years. In light of Chinah’s collaborative, piecemeal production style, Fine craved a more organic, intuitive process for these songs. Her work on the record combines sample-based production with the sounds of instruments she and her collaborators could hold in their hands, ones that inspired free-flowing improvisation: electric and acoustic guitar, even the Ensoniq keyboard that was in her childhood home. The resulting songs are equally inspired by the country and folk of her childhood, the hazy beauty of Mazzy Star, the avant-garde pop of Dean Blunt, and the songwriting of ’90s singer-songwriters like Suzanne Vega.

Fine describes her songwriting process as a “magical thinking method”: being in contact with the present moment and pretending as if she already knows the song she’s about to write. Many of the songs on Rocky Top Ballads use the original takes of Fine’s vocals, an attempt to capture a song’s initial essence and avoid disturbing the song’s generative idea as much as possible. You can hear that well-preserved spark on songs like “Losing Tennessee,” a minimalist and wistful reflection on the inherent loss and change of growing older. She wrote other tracks, like the piano-led “Whys” and the woozy “Coasting,” through a process of cutting and layering her improvisations, carefully merging multiple musical snippets into newly seamless compositions. And the stunning closing track “A Star” is the product of a slow process of evolution: beginning as an understated expression of sincerity before dissolving into a rich, distorted guitar-driven exploration.

As a songwriter and producer, Fine’s work often peers into the universes of experience that can be hidden inside a fragmentary moment. Sometimes she explores this literally — as in “Days Incomplete,” which she built off a short sample from “A Star.” This impulse — to zoom in, to recontextualize, to excavate — threads throughout her lyrics, too. What happens, her songs ask, when we pay close attention to those everyday images and physical realities we might otherwise ignore: the sky, the rain, the sun, the sea? On the spacious and swoony “Big Muzzy,” with its gentle sway and Cocteau Twins-inflected vocals, Fine sings about watching the “summer turn blue”; the grooving, propulsive “Remember The Heart” is a love letter to the sea where she grew up. In her airy voice, Fine traces meandering melodies that continually unspool with fresh insights.

A particular mantra guided Fine’s songwriting throughout the creation of Rocky Top Ballads: “Everything has potential.” In these songs, small moments are worthy of deep contemplation, and gentleness can evoke worlds of emotion. The resulting songs offer a gift of momentary pleasure, flowing and unhurried as a gentle breeze.

Marissa Lorusso

Recorded in the 1980's and snapped up upon arrival in Europe by the Soho Boho's, Acid Jazzuals,Cuboppers, Jazz Massivists and Mojo Jazzmuziker, "Le-Le" by The Arpeggio Jazz Ensemble is a unique one off Spiritual Soul-Jazz outing with Avant Garde touches and more than a hint of Afro-Cuban Orientalism.

The percussion drenched title track has that special Worldwide Sound and the Cool Jazz Get Down Groove of "Wet Walnuts and Whipped Cream" is a DJ's delight, whether played over the Airwaves or to a crowded Dancefloor.

An adventurous jazz outfit that has been playing around Philadelphia since its formation in 1979. The Ensemble was founded by Warren Oree, an acoustic bassist, producer and composer who continues to lead the band. Eclectic and far from predictable, on this album the Ensemble has embraced a variety of acoustic and electric jazz styles combining them with African and Middle Eastern influences and mixed together with the "New Thing" have managed to make a timeless underground classic.

Just a Man, Beres Hammond’s 1979 album, is a hidden gem in his illustrious career, celebrated for its heartfelt lyrics and smooth melodies, hallmarks of Hammond's signature style. This album offers a rare glimpse of Hammond before he became the lover’s rock icon we know today. Blending R&B, disco, soul reggae, and lovers rock, Just a Man showcases his soulful voice against the backdrop of disco-infused reggae rhythms, creating an irresistible vibe.
At this pivotal moment in his career, Hammond had just left the band Zap Pow to focus on his solo work, and Just a Man was a bold statement of independence. It reflects Hammond’s early musical journey, combining elements of R&B and disco with reggae, and marks a key moment in his rise as a solo artist.
Produced by Joe Gibbs, a legendary figure in reggae, and arranged by Willie Lindo, the album features some of Jamaica’s most esteemed musicians: Val Douglas & Mike Chung on bass; Mike Richards, Robert Stephenson & Calvin McKenzie on drums; Robert Lyn, Franklyn Waul& Harold Butler on electric piano; Lenox Gordon, Willie Lindo on guitar; Pam Hall, Prilly Hamilton, Sharon Forrester & Beres Hammond on backing vocals; Waul, Clive Hunt & Noel Seale on percussions; Hunt, Franklyn Waul & Harold Butler on piano; Dean Fraser on saxophone; Peter Ashbourne Group as string ensemble; Jerome Francque & Roland Robinson on trombone; David Madden, Willie Brackenridge & Clive Hunt on trumpet.
The album’s standout track, “Do This World A Favour,” became a UK soul hit, but the entire album features rare and funky gems like "Keep My Wheel Turning" that reflect Hammond's versatility and ability to transcend genres.
Our exclusive edition has been remastered, delivering superior sound quality that enhances the richness of every note.
This edition is published under the direction of Joseph Barthelet for Jamwax, under license from Gavin D.A. Gibson.
Just a Man is more than just an album; it’s a significant piece of jamaican music history.

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

endlich wieder lieferbar, 2 x 180 g black Vinyl im Gatefold

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

St. Morris Sinners is a band of troublemakers who were born in 2011 in Adelaide (Australia). "Nightmares" is their second LP out throught Beast Records. Stephen, the leader of the group proclaims in a spoken word with off-key singing and a strong voice, these feverishly hallucinated texts as if under the influence of an evil demonic spirit. Sporting an anarchic and unpredictable approach, his apostles are: Django Martin (guitar), George Thalassoudis (bass) and Angus Mason (drums) with noisy post punk sounds. These incarnate pieces touch on electric hysteria telling a twilight vision of existential excesses. The ego-altering gravity of melancholy in the tortuous timbre of Stephen's howls where the vitality of a tribute to decay, As a cursed preacher, despite the ordeals narrated, he seeks absolution with a lost look towards the captivated audience. Crazy and terribly captivating!

14 songs deep and proudly devoid of gimmicks or distractions, Slaughter On First Avenue is a riveting and raw account of Uncle Acid in full flight. From early classics like I'll Cut You Down and Death's Door (both from Blood Lust), to more recent works of lysergic aggro like Shockwave City (from Wasteland) and sinister epic Slow Death (from The Night Creeper), this amalgamation of two fiery and unforgettable live shows has a mesmerising momentum all of its own. A throwback to the days when live albums were magical things, rather than cynical stopgaps, Slaughter On First Avenue is a jolting dose of dark electricity and psychedelic terror. Swollen with the greatest of riffs and performed with grit, power and haughty disdain, it loudly confirms that Uncle Acid & The Deadbeats have the raw, fuzzed-out power to drag everybody into their bewildering, bewitched vortex of doom. A dazzling, devilish squall to mark the beginning of a new chapter, Slaughter On First Avenue also clears the decks for this band's next malevolent move. Don't say we didn't warn you. "Yes, There will be another record which will hopefully appear at some point without warning or explanation," Kevin Starrs avows. "It will be completely different to anything else we've done. You can think of it as a late-night detour. Its appeal will be extremely limited but that's OK... 'When you're slapped, you'll take it and like it!'".

FIVE LIVE YARDBIRDS is the debut album by British blues-rock band The Yardbirds. It features ten American rhythm and blues songs reimagined in, what would become, The Yardbirds’ “rave-up” signature. The “rave-up” treatment was the art of stretching a song with instrumental interludes building to a climax and was pioneered by the band for their live shows.

The album was recorded at the Marque Club on Wardour Street, London in March 1964 and released in the UK in December that year. It was the inspiration of the bands manager Giorgio Gomelsky who wanted to capture and preserve their youthful energy and the electric atmosphere.

At the time of release, it was not well received critically and failed to chart. Subsequently it is acclaimed as the most important live album of the Sixties during the British rock boom. Aerosmith’s founding guitarist Joe Perry describes their version of Chuck Berry’s ‘Too Much Monkey Business’ as a blueprint for much of what Aerosmith tried to do.

Horrible Occurrences is the title of the new Advance Base album, and there is truth in advertising. In these songs_all centered around a fictional town called Richmond and featuring an interlinked cast of characters_you will hear stories of death and disappearance, climactic confrontations and unsolved mysteries. "Richmond is just this place where all the bad memories live," Owen Ashworth explains, and nearly 30 years into his songwriting career, none of his records have packed quite the emotional intensity of this one. And yet something alchemical happens in the telling of these tales. Like a masterful short story collection, Horrible Occurrences is inspiring and alive, idiosyncratic and electric, pulling you closer with each word. In the six years since his last full-length collection of originals, 2018's Animal Companionship, Ashworth gathered ideas from performing live and traveling around the country, returning to cities that he once called home and revisiting old ghosts, memories, and fragments of unfinished ideas. Blending truth and fiction into a dreamlike composite, the songs convey the winding path our memory takes as the years go by, giving voice to a subconscious that is still unpacking old memories for new wisdom. Drawing inspiration from the otherworldly loneliness depicted on '80s masterpieces like Arthur Russell's World of Echo and Bruce Springsteen's Nebraska, the music never crowds Ashworth's detailed storytelling but it also never feels auxiliary. These are beautiful songs, but they stick with you for their ability to strike dissonant, unforgettable emotional chords. It is this pervasive empathy in Ashworth's songwriting_along with his writerly gift for clear settings and complex characters_that has made him a guiding light for so many independent artists. The things that happen throughout Horrible Occurrences are what we tend to call "unspeakable"_events that draw gut-level responses just from acknowledging that they could happen. But part of the triumph of the record is how simply and generously Ashworth finds the language to share them. For the characters in these songs who make it out okay, these are the types of memories they will be tossing and turning their whole lives, waiting for quiet moments to confide them among the people they trust. For the rest of us, they are signs of life along the highway on a dark, snowy night: reminders that, as isolated as we may feel, we are not alone on the road.

JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
"Aqualung Redux" präsentiert neue Versionen aller elf Titel des 1971 erschienenen Bestseller-Albums, von dem JETHRO TULL mittlerweile weltweit mehr als 7 Millionen Exemplare verkaufen konnten. Mit "Aqualung" feierten die Briten ihren Durchbruch als Rockband sowohl in Radio und TV als auch auf weltweiten Tourneen. "Aqualung" handelt in erster Linie vom Glauben und von Religion, beschäftigt sich aber auch mit anderen Themen wie der Obdachlosigkeit. Laut Ian Anderson handelt es sich bei "Aqualung" keineswegs um ein Konzeptalbum, für das es dennoch oft gehalten wird. Während die Band wie auf früheren Werken nach wie vor auf Blues, Hard Rock und der Psychedelia setzte, fügte sie auf "Aqualung " vermehrt akustische Folk-Momente hinzu. Bei der Singleauskopplung 'Locomotive Breath' handelt es sich um den vermutlich bekanntesten und am meisten gecoverten JETHRO TULL Song.
Zusammen mit "Aqualung Redux" präsentieren wir auch das Begleitalbum "Best of Jethro Tull Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der britischen Rocklegende enthält.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Angeschnallt und zugestiegen bei Magnetic Eyes achter Expedition ins Redux-Abenteuer, mit dem wir den einzigartigen britischen Rock-Erneuern JETHRO TULL die gebührende Ehre erweisen!

JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
"Aqualung Redux" präsentiert neue Versionen aller elf Titel des 1971 erschienenen Bestseller-Albums, von dem JETHRO TULL mittlerweile weltweit mehr als 7 Millionen Exemplare verkaufen konnten. Mit "Aqualung" feierten die Briten ihren Durchbruch als Rockband sowohl in Radio und TV als auch auf weltweiten Tourneen. "Aqualung" handelt in erster Linie vom Glauben und von Religion, beschäftigt sich aber auch mit anderen Themen wie der Obdachlosigkeit. Laut Ian Anderson handelt es sich bei "Aqualung" keineswegs um ein Konzeptalbum, für das es dennoch oft gehalten wird. Während die Band wie auf früheren Werken nach wie vor auf Blues, Hard Rock und der Psychedelia setzte, fügte sie auf "Aqualung " vermehrt akustische Folk-Momente hinzu. Bei der Singleauskopplung 'Locomotive Breath' handelt es sich um den vermutlich bekanntesten und am meisten gecoverten JETHRO TULL Song.
Zusammen mit "Aqualung Redux" präsentieren wir auch das Begleitalbum "Best of Jethro Tull Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der britischen Rocklegende enthält.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Angeschnallt und zugestiegen bei Magnetic Eyes achter Expedition ins Redux-Abenteuer, mit dem wir den einzigartigen britischen Rock-Erneuern JETHRO TULL die gebührende Ehre erweisen!

Mit dem Begleitalbum "Best of Jethro Tull Redux" lässt sich das Erlebnis von "Aqualung Redux" noch erweitern und vertiefen. Mit beiden Werken zollen Magnetic Eye Records gemeinsam mit zahlreichen Freunden der britischen Rocklegende JETHRO TULL und ihrem Meilenstein-Album "Aqualung" aus dem Jahr 1971 respektvollen Tribut. Auf "Best of Jethro Tull Redux" bieten weitere spannende Künstler ihre Neuinterpretationen aus dem ebenso einzigartigen wie umfangreichen Gesamtwerk der Briten an.
JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
JETHRO TULL haben von Anfang an die Grenzen der Rockmusik neu vermessen. Durch die Einführung von Elementen aus der klassischen Musik, des Jazz sowie der traditionellen Musik haben die Briten zahlreiche Impulse gegeben, weshalb sie zunächst dem Art Rock zugerechnet wurden und mittlerweile unter anderem zum Progressive Rock zählen. Die britische Legende schaffte den Spagat zwischen Kunst, Breitenwirkung und kommerziellem Erfolg stets mit nur scheinbarer Leichtigkeit. Dazu trug auch die herausragende Bühnenpräsenz von Frontmann Ian Anderson bei, dessen theatralischen Auftritte sogar mit denen seines Zeitgenossen, dem legendären britischen Sänger Arthur Brown, konkurrierten.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.

Mit dem Begleitalbum "Best of Jethro Tull Redux" lässt sich das Erlebnis von "Aqualung Redux" noch erweitern und vertiefen. Mit beiden Werken zollen Magnetic Eye Records gemeinsam mit zahlreichen Freunden der britischen Rocklegende JETHRO TULL und ihrem Meilenstein-Album "Aqualung" aus dem Jahr 1971 respektvollen Tribut. Auf "Best of Jethro Tull Redux" bieten weitere spannende Künstler ihre Neuinterpretationen aus dem ebenso einzigartigen wie umfangreichen Gesamtwerk der Briten an.
JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
JETHRO TULL haben von Anfang an die Grenzen der Rockmusik neu vermessen. Durch die Einführung von Elementen aus der klassischen Musik, des Jazz sowie der traditionellen Musik haben die Briten zahlreiche Impulse gegeben, weshalb sie zunächst dem Art Rock zugerechnet wurden und mittlerweile unter anderem zum Progressive Rock zählen. Die britische Legende schaffte den Spagat zwischen Kunst, Breitenwirkung und kommerziellem Erfolg stets mit nur scheinbarer Leichtigkeit. Dazu trug auch die herausragende Bühnenpräsenz von Frontmann Ian Anderson bei, dessen theatralischen Auftritte sogar mit denen seines Zeitgenossen, dem legendären britischen Sänger Arthur Brown, konkurrierten.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.

"You're traveling through another dimension - a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination". This iconic introduction is from Rod Serling's timeless and influential television program, The Twilight Zone. Perhaps he would also apply this description to Can Con, the debut album by The Psych Fi's. The group is an offshoot of Canadian singer-songwriter Jerry Leger's rock 'n' roll side project, The Del Fi's. Just as The Psych Fi's describe themselves as "spontaneous psychedelic rock", The Del Fi's recorded two albums characterized by spontaneity, spirit, and trust. This time Leger brings his songs to a revolving door of musicians and singers (18 members, including Jerry, in the case of Can Con). Most of the performers have not heard these compositions before recording them. They have no chance to second-guess; they must be fearless and jump in with both feet and perform live in studio. Leger acts as a sort of loose conductor, allowing certain soloists to emerge from the musical collage. The group takes you on a hypnotic journey from the epic opening medley "Alone in a Room of Mirrors / James Cagney" to the groove of "You Know that I Love You, I Do" and the openness of "Song for Vultures". You'll get lost in "Summer's Right Around the Corner", which also features Don Stevenson (founding member of the legendary 60s psychedelic rock band Moby Grape) on backing vocals, alongside Kate Boothman (Katie Cruel) and Angie Hilts. This sound has evolved out of Del Fi performances, specifically when musicians Nichol Robertson, Jason Kenemy, Dave Clark (The Rheostatics, Woodshed Orchestra), and Michael Eckert were involved. Leger and these "Fi's" eagerly ventured down less-traveled roads to destinations unknown. Other Psych Fi's include Ken Yoshioka, Matthew Cooke, Les Armstrong, Chris Bennett, Shawn Clarke, Katie Methot, and members of "Jerry Leger & The Situation" (Dan Mock, Kyle Sullivan, Alan Zemaitis). Leger tells us at the beginning of the record, "I'm excited to live again", and by the end of Can Con, he's singing in his dreams and ours. This album will continue to grow, live, breathe, and expand as we share in each other's minds. It's a happening, and it's happening - you can hear it throughout the grooves. Here is your mantra: "I AM A PSYCH FI". File under: Psychrock, Crazy Horse, Electric Dylan.

On their debut 45 for Batov Records, Indonesia-based BABON deliver two irresistible jams, cooked from a recipe full of Indonesian flavours, Afro Latin funk, Morricone grooves, Bollywood breaks and blues, they call “Tropical Desert Music”. A must-hear for fans of Surprise Chef, Khruangbin, or Sababa 5.

Drummer Wahyudi T. Raupp and multi-instrumentalist Rayi Raditia, friends since high school in Jakarta, via university life in Melbourne, formed BABON in 2023 to address environmental issues through instrumental music, thus combining
two mutual passions.

Working in their home studio free of time restraints, Babon developed their “Tropical Desert Music’’ sound, mixing the energy and influences of Melbourne’s vibrant music scene, with traditional Indonesian forms, from the pulsating rhythms of dangdut, and gamelan, the ritualistic percussion ensemble music native to Java and Bali, to keroncong, a popular and melodic folk style; while addressing environmental concerns and societal complexities, such as the
impact of ruthless exploitation on tropical regions.

On the A-side, “Desert Rose” is a spaghetti blues dedicated to the widows marginalised and objectified by mine workers. Rayi’s electric guitar gently wails with the cinematic effect akin to a Tarantino soundtrack, over a hypnotic groove that never grows tired.

On the flip, “TNT” explores the moral dilemma faced by a miner torn between the destructive nature of his occupation and the dire financial needs of his family, leading to a downward spiral of alcohol abuse. Slowly raising tension levels,

BABON pit somber organ riffs over bass guitar fuzz and Indonesian-sounding guitar motifs, leading to a final explosion
of guitars and drums. BABON’s “Tropical Desert Music” perfectly complements Batov Records’ rich catalogue of Middle Eastern grooves and is an irresistible sound its own right with a poignant message.

After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.

Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.

Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”

Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.

With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.

Prairiewolf make easy listening music for an age of fracture. They almost do it in spite of themselves. No one can seriously question the head music bona fides of the members of this Colorado-based trio.

Guitarist Stefan Beck has already assembled a formidable discography of jewel-toned guitar zone-outs under his Golden Brown moniker. And keyboardist and guitarist Jeremy Erwin and bassist Tyler Wilcox have both made their reputations as chroniclers of the vast world of out-music. Erwin helms the indispensable Heat Warps blog, a performance-by-performance archive of Miles Davis’s labyrinthine electric period. And Wilcox has been covering the ragged edges of psychedelia and experimental rock at Aquarium Drunkard and other publications, not to mention his own virtual basement for heads, the great bootleg blog Doom and Gloom from the Tomb.

These guys come by it honestly. And yet, given their backgrounds, Prairiewolf’s self-titled debut last spring was remarkably free of face-melters, brown acid blowouts, and ascendant spiritual jazz odysseys. Instead, they dropped a record of beautiful, elegant, low-key cosmic groovers that sounded like the piped-in background music to a resort hotel on Jupiter. It was an unlikely psychedelia, brocaded with mid-twentieth century sonic threading from the hi-fi era: vintage synthesizers, smears of spaghetti western, luxe tropical details, the faint schmaltz of space age pop. Imagine something like a Harmonia residency in the airport lounge. And yet somehow it all worked brilliantly. Prairiewolf became last summer’s cool-down standard. After a year woodshedding around Colorado’s Front Range region, the Prairiewolf boys have fired up their trusty Korg SR-120 drum machine for another outstanding collection of suborbital exotica. The appropriately titled Deep Time operates in its own chronology, unspooling at its unhurried pace. All its incongruous period and stylistic references—the new age pulses, Hawaiian steel, shaggy hippie rambles, lysergic guitar spirals, and orchestral synthesizer flourishes—float atop the album’s own singular temporality. Deep Time makes its own time.

From the moment Beck folds his slide guitar, origami-like, into a sound resembling the call of gulls on the tranquil album opener, “Peach Blossom Paradise,” there is a sense of departure from everyday life. The shimmering “Lighthouse” has a similar sunbaked nonchalance, like an afternoon passed day-drinking in a seaside bar. That they named their lush, kaleidoscopic downtempo track “The Meander” pretty much says it all. The ranging, propulsive “Saying Yes to Everything” seems like a nod in the direction of Rose City Band’s brand of wookie krautrock. And the motorik noir of “Demon Cicadas in the Night” also goes hard. Beck and Erwin’s intertwined guitar jam on the eerie album standout “The Cold Curve” evolves into something that sounds like primitive computer music. A genteel bassline from Wilcox on another album highlight, “Revisionist Mystery,” sets the stage for a loopy space jazz turn from guest clarinettist Matt Loewen of Rayonism. The title of post-rock cowboy tune “Another Tomorrow” might refer to the alternative future that so many critics heard in the music of Prairiewolf’s first album. Or it might simply refer to the persistence of time, however deep. Either way,

I’m thankful for the way Prairiewolf make each of their tunes a little oasis or sanctuary, each subsisting according to its own crystalline little logic for a few minutes. It is no simple task to filter out the omnipresent anger and anxiety of everyday life these days. But Prairiewolf are out here making it seem easy.

Brent S. Sirota

Texas born Freddie King was one of the all time great Blues guitarists. He is considered one of the "Three Kings of the Blues Guitar" (along with Albert King and B. B. King, none of whom are related). Mostly known for his soulful and powerful voice and distinctive guitar playing, King had a major influence on electric blues music and on many later blues guitarists including the likes of Eric Clapton, Jeff Beck, Peter Green, and Mick Taylor.

This selection showcases live recordings from his classic repertoire over a period from 1969 to 1975. His signature tune “Hideaway” was named after a nightclub on Chicago’s Westside; “Mel’s Hideaway lounge”.

All music written, arranged and performed by 1000mods
Lyrics by 1000mods
Produced by Matt Bayles & 1000mods
Mixed by Matt Bayles
Engineered by Matt Bayles
Recorded at Sierra Studios, Athens, GR
Studio personnel: Christos Achladiotis and Kostas Spiropoulos
Piano recorded at Electric Highway Studio by John Vulgaris
Mixed at Red Room, Seattle, WA
Mastered by Brad Boatright at Audiosiege, Portland, OR
Artwork by Eva Mourtzi
Designed by Ouga Booga Crew

Hammond and piano on Love, Grey Green Blues and Bluebird by Jiomy Amaranth
Additional Guitar on Götzen Hammer by John S.
Additional vox on Götzen Hammer by Api
Backing vox on Overthrown by Amie
Chelo οn Bluebird by Nikos Veliotis
Semantron on Götzen Hammer by Panos Z

Lara Sarkissian’s long-awaited debut full-length, ‘Remnants’ is an ornate patchwork of ancient and modern sonic shapes that uses the vernacular of electronic music to reformulate Armenian traditions and memories. Taking digitally modeled instruments (such as the kanun, a large zither, and the duduk, an ancient double reed woodwind instrument), vocals, davul and dhol drums, tenor saxophone (from acclaimed Paris-based player Adrien Soleiman) and myriad electronic elements and techniques, Sarkissian tangles the old and the new, creating an immersive, narrative-driven experience that’s powered by history, mythology and her own familial connection to the West Asian landscape. It’s an album that’s best absorbed like a film; only multiple encounters can reveal its layered themes and references to industrial music, noise, various club styles, ambient and traditional folk.

Born and raised in San Francisco and currently based in Los Angeles, Sarkissian has developed her unique approach to composition over years of relentless experimentation across various disciplines. Her interest in music production initially stemmed from her filmmaking and video editing work, when she began to sculpt her own sound collages and scores to accompany the visuals. Since then, she’s constantly blurred the boundary between dance and experimental music, DJing around the world, producing AV installations and scoring film and video projects that have been exhibited in Berlin’s Gropius Bau, Montréal’s Musée d’art contemporain, the Music Center Los Angeles and other prestigious institutions, and releasing music with labels such as Tresor, Knekelhuis, All Centre, Silva Electronics and CLUB CHAI, the label and event series she co-founded. In recent years, she’s also been able to advance the theory behind her art, publishing a conversation with ethnomusicologist Sylvia Alajaji in the Journal of the Society of Armenian Studies in 2021, and unveiling her methodology in Norient’s ‘This Track Contains Politics – The Culture of Sampling in Experimental Electronica’ a year later.

‘Remnants’ is a new stage in Sarkissian’s evolution as an artist; not only is it her first proper album, but it’s the inaugural release on her new platform btwn Earth+Sky. She sees the label as a place to encourage collaborations between musicians and producers and prioritize sound in visual arts realms, and ‘Remnants’ is the ideal proof of concept. It opens with ‘Heaven, or Paradise; and Hell’, a track that’s inspired by the layout of the Armenian sharakan (or hymn) ‘Aravot Luso’. Sarkissian imagines the original piece’s harmonies and melodies as parts of a dreamy electronic opera, using digital kanun sounds to punctuate her woozy, evocative synths. Soleimen joins on tenor sax in the third act, while Sarkissian repeats the chant and Jace Akira adds ghostly traces of electric guitar and bass. And on the rousing ‘Our Dead Can’t Rest (Old Jugha Flute Dance)’, Sarkissian chops urgent davul and dhol drum rhythms with spine-chilling shvi woodwind sounds lifted from a documentary about Old Jugha. The title is a reference to the moving of graves by Armenian families; the area initially housed over 10,000 elaborately carved khachkars (cross stones), one of which is pictured on the album’s cover, provided by historian Argam Aivazian’s archive.

On ‘Miracle’, Sarkissian samples atmospheres from the post-Soviet Armenian comedy film ‘Կիսանդրի’ (Kisandri). She takes this opportunity to lighten the mood a little, powdering her smudged samples with tightly edited breaks and bass thumps. It’s not until the album’s middle section that the duduk, perhaps Armenia’s best-known instrument, makes its appearance. Its familiar reedy tones, popularized by Djivan Gasparyan on his many Hollywood soundtrack appearances, emerge on ‘Unraveling (Interlude)’, weaving through the acidic ‘Zephyr’ and ‘Far from the eye far from the Heart’, a post-punk inspired stomper. Sarkissian mutates the instrument almost beyond recognition, pitching and layering it into a voice-like wail that creeps between her woody, dancefloor-primed percussion on the former, and turning it into a gentle, ghostly moan on the latter. And she brings ‘Remnants’ to a close with two of her most cryptic tracks, marrying digital kanun strings with Soleiman’s resonant tenor hums on ‘What Solace Can I Give’, and looping the same saxophone sounds until they dissolve into the air on the beatless closer ‘…nothing matters more than touching you although i haven’t touched you yet’.

It’s an album that ties up Sarkissian’s various interests and experiences, finding a romantic, poetic glimmer of light in history’s darkness. But most of all, ‘Remnants’ is about the optimism of starting anew, and rebuilding a life from the pieces of everything that’s been left behind.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

The mighty Lempuyang label returns with its annual compilation series, again this year split over two superb 12"s. Both of them feature a remastered track from the vaults and in the case of this EP that is the hotly in-demand 'Dubby Plug' by W Moon which is a potent, kicking dub techno cut freshly remastered for 2024. ElsewhereHydergine's 'Ultraviolet' is soulful Detroit-inspired machine music and Dubrovnik UK's 'Waves' fizzes with static electricity. Merv's 'Unity' is the vast, cavernous opener and might be the best of the lot

Zwischen Poetry und Freestyle: Harry Dean Lewis' Debütalbum Threes sides to a coin
Irgendwo zwischen, innerhalb und außerhalb von Indie Pop, Soul und Rap sind die 11 Stücke verortet, aber immer mit einer grandiosen Hook im Gepäck. Über den Umweg Berlin ist der Australier Harry Dean Lewis während der Pandemie nach Wien gekommen. Nach Kollaborationen mit u.a. Joe Traxler oder Girondolini regiert auf seinem Debütalbum Three sides to a coin der Groove und sein unverkennbarer lyrischer Stil.

For Moxy Muzik’s 6th birthday, we’re excited to present Moxy Editions 008—a collection of tracks that perfectly encapsulates the label’s signature sound.

The first track comes from none other than Detroit techno pioneer Stacey Pullen. Darius Syrossian, Moxy's founder, has been a fan of Stacey since the '90s, and this track captures the essence of Moxy’s vibe: techno energy infused with disco and house influences. This track was a peak-time staple in Darius’s sets all summer, igniting dance floors from DC10 and Amnesia to festivals across the UK and Europe. The buzz is palpable, with daily requests flooding in for the track ID whenever a clip surfaces on Darius’s social media.

Next, Darius brings his own twist to Audiojack’s “Get Down,” capturing the spirit of DC10’s late 2000s terrace sound. Tribal percussion, a deep groove, and a massive drop make this remix a dance floor weapon. Videos of this track’s electric energy have surfaced from epic nights at KOKO London, Space Miami, and Solid Grooves DC10, showcasing its undeniable impact.

Kicking off the B side Vincent Caira contributes a refined US house and garage track that’s bound to resonate with purist house heads. This sophisticated production by the Canadian producer is as smooth as it is engaging—a true gem for those who appreciate the finer details of house music.

Rounding out the release is a track by Buckley, the legendary Back to Basics DJ from Leeds. This one’s a tribute to the old-school Todd Terry sound, perfect for fans of classic, raw house beats. If you’re into that vibe, this track is sure to hit the mark.

This collection brings together iconic artists and authentic sounds that will resonate with Moxy’s long-time fans and newcomers alike. Enjoy the journey!

DJ Support: Kevin Reynolds, James Baron, Hot Toddy, Pablo Valentino, Colin Dale

Suite For Chick is a heartfelt Homage to the late Jazz Maestro Chick Corea.

This collection features reinterpretations of City Gate, Rumble, Time Track, and Hymn of the Heart from the Chick Corea Elektric Band, as well as Return to Forever’s classic Romantic Warrior. These vibrant renditions celebrate Corea's enduring legacy in the jazz world.

Chick Corea played a crucial role in shaping Miles Davis's electric fusion era and was a key member of his Lost Quintet. He was also a founding force behind Return to Forever and many other influential groups.

Bangkok-based Maarten Goetheer collaborates with top Thai drummer Pong Nakornchai, blending Wurlitzer chords, Moog basslines, ARP leads, and signature Rhodes phasings. Nakornchai, a Master’s graduate in Jazz Studies from Mahidol University, leads his own quartet and embodies the progressive spirit of modern jazz in Thailand.

Maarten's inspiration stems from his musical upbringing; his father, Gerard Goetheer, was a jazz pianist. This environment fostered his deep appreciation for music. A pivotal moment came when he heard Masters at Work remixing Tania Maria, igniting his vision to merge genres and create something new.

With Suite for Chick Maarten wanted to incorporate a wider range of Modern influences that he became infatuated with throughout his Musical career such as Techno, Italo, Cosmic Disco, Dub, Acid, Boogie, Proto-House & Ambient Music.

To Maarten bringing these genres together is his current and unique interpretation of the JAZZ FUSION moniker.

Radio Support: Kev Beadle Radio support, Colin Curtis Radio support, RINSE FM mini album mix & interview on Tim Garcia show, BBC6 RADIO New Music Fix 16th Oct 2024

DJ Feedback:

DJ Harvey - Very cool collection of reworks

Terry Farley - so fucking good - house heads will be lovin’ this

Laurent Garnier / FG Radio France: Whaouuuu. That’s brilliant. Great album!

Lars Behrenroth / Deeper Shades Of House: This is so cool. Love the dub of City Gate, too. Great music

Jimpster / Freerange: Great idea to work up some contemporary interpretations of Chick classics! Was always a fan of Time Track so nice to hear this one included. These tracks strike a really nice balance of electronic/sequenced elements and live recording. I’m into it!

Tim Garcia / Rinse FM: I think this whole release is excellent and inspired, nice to see a tribute to one of my favourites work so well.

a A1: City Gate Rumble Original
[b] A2: City Gate Rumble [Reprise Dub]
[c] A3: Romantic Warrior [Original]
[d] B1: Time Track [Original]
[e] B2: Time Track [Reprise]
[Original]

A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me".

"Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica.



”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time,
This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album.
Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6.



The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

The experimental project Pissoff was founded in the late 60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud and soundwise undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ and drums. In 1968 Pissoff performed together with Joseph Beuys who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Hndaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet and tenor saxophone while the other members added sounds by electric guitar, electric bass and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff.

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singersongwriter and guitarist. "It's what feels most true to who I am as an artist." `Tsukino', Mei's debut, self-released EP, is being released physically for the first time ever on Bayonet Records! The EP will be released by itself on CD & Tape formats, and will be included in a vinyl pressing on the B-side of Semones' landmark EP, `Kebutomushi'! Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays into angular indie rock more now than ever before. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genrefusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMYâ nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . It became the first Rival Sons album to achieve Top 20 status in the UK Album charts (peaking at #14). This very special anniversary edition includes the original 2 bonus tracks from the album’s 2014 Tour CD-Edition, first time on vinyl. Jay Buchanan’s voice is stunningly soulful whilst Scott Holiday’s signature guitars riffs,licks and solos elevate the sonic landscape that Rival Sons create to another level.