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** 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

Gemeinsame Auftritte mit weltbekannten Gitarristen wie Jon Gomm, Joscho Stephan oder Peter Finger, sowie Engagements als Live-Bassistin bei Alli Neumann oder der Band AnnenMayKantereit. Mit letzterer spielt Chassée bis heute in ausverkauften Hallen in Deutschland, Österreich und der Schweiz und veröffentlicht ihr 4. Studioalbum auf Roof Music!

'Attachment Theory' (VÖ: 06.09.24 via ROOF Records) ist das neue Album von Sophie Chassée. Insgesamt zehn Songs, die Herzensbrüche und kaputte Beziehungen verhandeln, als gäbe es da tatsächlich eine Theorie, eine Formel, um diesen verdammten Schmerz erträglicher zu machen. Und wenn es sie gibt, dann, das macht 'Attachment Theory' klar, muss diese Formel lauten: Gezupfte Gitarren a la Ben Howard, Tracy Chapman oder Andy McKee addiert mit einem wunderbar zarten, warmen Colbie-Caillat-Gesang und multipliziert mit großen Folk-Popmomenten, wie man sie noch aus frühen Taylor Swift-Songs kennt. Dazu Lyrics, die so klar alles 'Toxische' zurück in die Dunkelheit der Nacht singen, dass da nur noch Licht bleibt, etwa in 'What Fathers Do: Your words don’t met your actions/ You never heard of self reflection'. Mit 'Attachment Theory' erscheint nun bereits das vierte Studioalbum der Singer-Songwriterin. Da sind viele Genres, mit denen man Chassées Musik zu beschreiben versuchen könnte: Modern Fingerstyle, Folk oder Acoustic Pop. Vielleicht reicht es aber auch, diese Songs als das zu benennen, was sie sind: Große, ehrliche, tiefe Lieder. Solche, die die Landschaft vorbeiziehen lassen, Pflaster über die Wunden auf der Seele kleben – und die Hoffnung ein bisschen heller leuchten lassen.

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

Kato Hideki's Statement: "The Walk is the first collaboration between me and my brother from another mother, Kramer. We started working together in the late summer in 2023, discussing the thematics and the sonic palette of the album. We shared strong connections with the writings by Robert Walser and Basho - both of them walked, dreamed, lived and died on the road. Ambient music was our natural plane for us to transduce the power of their literature into our music as signifiers. Neither of us imagined just to make 'another ambient record', nor a direct translation of their writings. My instinct was to use various modal colors with modulation - slow yet structured music that sounds deceivingly similar to ambient music. Kramer's genius was apparent to me: his ability to elaborate the music as a composer / musician with his keen ears; to frame the album conceptually, sonically and musically as a producer. What you hear in this album is a true collaboration between two artists who trusted each other to let the music transcend. Here you have it, enjoy YOUR walk - dream, live and die well!" Kato Hideki - Brooklyn, NY on April 3rd, 2024 Kramer's Statement: "Sometime in the latter 20th Century, I became aware of the art of The Brothers Quay, two American animators living in London and making the most beautiful works of art I'd ever experienced in cinema. I noted that some of their work was inspired by_ 'the writings of Robert Walser'. Fast forward to 2024 and I have now read every word there was to read (translated into English) by this unique Swiss-German writer. I'd waited decades to find the right 'environment' in which to create music in dedication to this great prose writer and poet, and in 2023, I found that it was not 'the right environment' that I'd been waiting for, but rather, the right collaborator. Kato Hideki and his extraordinary work as composer for film, dance and just about every other creative discipline you can imagine, was equally as inspiring to me for this project as the words and worlds of Walser and Basho. Our journey in collaborative composition began all over the global map, but arrived at the same physical endpoint, and at the very same point in time. I'm not sure that I would even be interested in music at all, unless there were other artists to partner with as I worked. Working alone means Nothing to me. This months-long act of co-creation i have shared with Kato for "THE WALK" has made me as happy to be alive as Walser and Basho were so happy to be alive while on their walks, as evidenced by their extraordinary descriptive powers, knowing that the world around them - so simple yet so very complex - made life so wondrous, and so well worth the sometimes seemingly insurmountable struggles of finding a way to survive Today, so that we might try again Tomorrow." - Kramer, April 9, 2024 (Asheville, NC)

Mit deutschen Texten und einem vielfältigen Mix aus Genres der härteren Musik sind Consvmer. einzigartig in ihrer Szene und liefern nun ihr neues Album “Seelenfrieden” ab. Die Wurzeln der Band reichen bis in ihre Grundschulzeit zurück, als die drei Gründungsmitglieder Daniel Fischer, Dennis Fischer und Dennis Ackermann ihre Leidenschaft für die Musik entdeckt haben. Sie bildeten Consvmer. in 2019 und in 2022 stoß Fabian Schuhmacher als Bassist dazu. Ihre gemeinsame Geschichte prägte den Musikstil von Consvmer., eine Mischung aus Progressive Meta, Beatdown und Metalcore. Die Band ist extrem gesellschaftskritisch und scheut sich nicht davor, auch die dunkelsten, unangenehmsten Themen in ihren Texten zu anzusprechen. Diese Band kennt keine Grenzen und ihre unvergleichbare Kreativität wird nicht nur in ihrer Musik, sondern auch in ihren eigens produzierten Musikvideos und Grafiken reflektiert. Mit ihrem sozialkritischen Bewusstsein und musikalischen Experimentierfreudigkeit haben Consvmer. sich trotz deutscher Texte auch international einen festen Platz in der Metal Szene erarbeitet. Aufgrund ihrer einmaligen Kombination aus eindringlichen Rhythmen, provokativen Themen und kreativer Unabhängigkeit ziehen Consvmer. nicht nur durch ihre Musik Aufmerksamkeit auf sich, sondern auch durch ihre Haltung und deren Ausdruck.

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

Copenhagen’s Echocord returns this September with the ‘Invincible Nature’ EP by Altone, backed by a remix from Thomas Fehlmann and Another Channel. Atone is the guise of Tokyo’s Yuki Takasaki, one of the leading figures of the genre out of Japan with releases on the likes of Greyscale, Lempuyang, Vuo, Æ Recordings, Primary colours and many more. His distinctive twist on Dub Techno has earned him accolades worldwide within the underground and here he joins the roster of the esteemed Echocord, the Kenneth Christiansen helmed label that’s been at the forefront of Dub Techno for more than two decades now. The original mix of ‘Naturally Unnatural’ opens, showcasing Altone’s unique style via subtly nuanced chord flutters, expansive reverberations, pulsating low end tones and ever unfolding, subtly unfurling feel. The ‘Naturally Flowing Thomas Fehlmann Remix’ follows, the Swiss sonic wizard and former member of the legendary The Orb among many other projects delivers deep, throbbing subs and glitched out synth modulations intertwined with fragments of the original composition. ‘Unnaturally Balanced’ then opens the B-Side with Altone diving deeper into dub realms courtesy of ever alternating, billowing dub echoes and a raw, reduced rhythm section. The ‘Another Channel Version’ of ‘Unnaturally Balanced’ then rounds out the EP, embracing a more classic dub techno aesthetic as crunchy drums, swirling atmospherics and spaced out echoes ebb and flow amongst one another across the six and half minute duration.

The Flaming Lips will celebrate 25 years of their seminal 1999 album, The Soft Bulletin, with the brand new The Soft Bulletin 25TH Anniversary Vinyl out September 6. It will be available in limited-edition 2LP Vinyl with stunning Zoetrope designs notably co-created by Drew Tetz and band frontman Wayne Coyne. Plus, it boasts brand new sleeve artwork in addition to an insert with text penned by Wayne.

The Flaming Lips first unveiled The Soft Bulletin on May 17, 1999. Anchored by staples such as “Race for the Prize,” “Waitin’ for a Superman,” and “Feeling Yourself Disintegrate,” it earned some of the highest critical praise of the band’s career. Pitchfork placed it at #3 among “The Top 100 Albums of the 1990s,” hailing it as “godlike music” and professing, “Remarkably, the band's music maintains a general air of feel-goodness while their lyrics concern sobering subjects as bleeding, bites, and mortality.” Moreover, Entertainment Weekly bestowed an “A” rating upon the record, Spin scored it “9-out-of-10,” NME applauded it with a “9-out-of-10,” and Pitchfork delivered a rare perfect “10.0” score.

Im neuesten Label-Spotlight der 'This Is'-Reihe - nach gefeierten Blicken auf Flying Dutchman und Fame - konzentrieren sich die Ace-Macher auf Goldwax, das seinen 60. Geburtstag feiert, und präsentieren die besten Aufnahmen, die während der kurzen Existenz des Soul-Labels entstanden sind.
Die Compilation rückt nicht nur James Carr ins Rampenlicht, sondern auch seinen wichtigen Labelkollegen Spencer Wiggins oder die wunderschönen Harmonien der Ovations. Diese drei Acts waren die tragenden Säulen von Goldwax und zeigen neben den Songschreiber-Talenten von George Jackson und Dan Greer, warum der Einfluss des Labels auch heute noch wichtig ist. Ein Katalog voller Juwelen, von den frühesten Aufnahmen des Hitmachers von 'Why Can't We Live Together', Timmy Thomas, bis hin zu selten aufgenommenen Künstlern wie Philip & The Faithfuls. Diese Zusammenstellung zeigt auch, wie stark die Club- und Studioszene in Memphis damals war, mit Aufnahmen von Willie Walker, Percy Milem, Barbara Perry, Gene 'Bowlegs' Miller und anderen, die zwar nur sporadisch Aufnahmen machten, aber beliebte Live-Performer waren. 'This is Goldwax' wird mit einem vollständig illustrierten Booklet mit Liner Notes von Dean Rudland geliefert. Eine perfekte Einführung in das Label zu Beginn seines siebten Jahrzehnts. Als Doppel-LP

Nach dem Erfolg von Keb Darges 2023er Ace Rockabilly-Compilation (CHD 1637) kehrt die Legende mit einer weiteren Sammlung von Musik zurück, die ihm am Herzen liegt. - Auf 'Keb Darge Presents The Best Of Ace Sixties Garage Punk' öffnet der schottische DJ-Maestro und Producer seine Archive und enthüllt eine Auswahl von US-Garage-Stompern aus den 60er Jahren. Künstler wie The Hooterville Trolley, The Litter, The Music Machine, The Venturie "5", The Lyrics oder The Nightcrawlers werfen ein Licht auf britische Invasionsbands wie die Who, Kinks und Rolling Stones, heimische Garagenblumen und das dunkle Ende der psychedelischen Straße. Gespickt mit fuzziger Gitarre, Enthusiasmus, treibendem Beat und einer Einstellung, die Proto-Punk war, bleibt diese Musik frisch und wird bereits von einer neuen Generation angenommen. Mit Liner Notes von Keb Darge und Coverartwork von Robin Banks.

Ace hat den Teppich ausgerollt, als es um die Neuauflage der Deluxe-Vinyl-Edition von The Seeds' gleichnamigem Debüt (HIQLP 129) sowie 'A Web Of Sound' (HIQLP 135) ging. Beide Alben enthalten nicht nur die Original Tracklistings, sondern auch eine zusätzliche LP mit Outtakes, alternativen Versionen und anderen Juwelen. -Ace freut sich nun, eine 2-LP-Deluxe-Edition des klassischen dritten Albums 'Future', anbieten zu können. Diese LP erschien ursprünglich 1967. Die erste LP präsentiert das Original-Stereo-Master von mit Titeln wie 'Out Of The Question', 'A Thousand Shadows' und 'Travel With Your Mind'. Die zweite LP enthält Bonustracks, alternative Takes und Mixe, die zeigen, dass der klassische Rock'n'Roll-Sound von Seeds unter den Overdubs genauso stark geblieben ist wie eh und je. 'Future' wird in einem dicken Hochglanz-Foldout geliefert und enthält außerdem ein achtseitiges, reich illustriertes Booklet mit Anmerkungen von Alec Palao.

Straight off the back of his first live headline tour, 1-800 GIRLS continues his journey of binding genres through emotion with his debut EP ‘That’s Just How I Feel’ on Seb Wildblood’s label all my thoughts.

Mirroring his previous works, this four-track collection is a tapestry woven around themes of transformation and progression. Evolving with each production, this release is a strong statement of intent for how he means to go on.

The EP itself is made up of 4 scantily clad, lovestruck dance tracks that feel purpose built for the summer festival run. Proudly bearing all the hallmarks of a UK production, pitch vocals are inked onto the body of each track with detail and care. He demonstrates his ability to stir emotion with simplicity, and seasons each production with tastefully chosen found sound recordings.

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.

In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.


Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte.


Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

Elliott Smith's "Division Day" is not only one of the late artist's most beloved fan favorite songs, it's also one of Smith's first departures away from the soft-spoken melancholy of his first two albums and into the more sophisticated pop that led to his breakout success. B-side "No Name #6" is a classic in its own right, encapsulating the humble brilliance of one of our generation's greatest singer-songwriters. "Division Day" b/w "No Name #6" is now back in print with its first pressing on colored vinyl. Limited to 1000 copies on clear vinyl, this 7" single is a crucial document of Elliott Smith's musical evolution, and a vital piece of Suicide Squeeze history.

"Pretty (Ugly Before)" b/w "A Distorted Reality Is Now A Necessity To Be Free" holds the distinction of being the last recording by Elliott Smith to be released while he was still alive. Originally released as a single in August 2003, the songs were a part of the recording sessions that would ultimately yield the acclaimed posthumous album From A Basement On The Hill. The two songs serve as a powerful reminder of why Smith became the voice for a dejected generation. This repress is limited to 500 copies on tri-color vinyl - mustard, baby blue, and coke bottle green.

Coming out on September 6th on Sharptone Records, Sundiver is Boston Manor’s fifth album and one that represents a glimmering dawn for the Blackpool five-piece. Grown from a seedbed of optimism and sobriety, the LP celebrates new beginnings, second chances and rebirth. With two members recently stepping into fatherhood, hope is baked into every note. “Datura came out of these really dark few years over the hangover of the pandemic,” Henry reflects. “I'd been struggling a lot with drinking and not taking care of myself and bad mental health and stuff. We wanted Sundiver to be the next morning of the following day.” He explains that it feels good this time round to write through the lens of positivity. “The themes began to emerge, of rebirth, spring, dawn, sunshine and then other elements just started to fit into that.” It was during the making of Sundiver that Henry found out he was going to be a dad. This album is a significant one for the band. Originally coming out of the emo and pop punk scene, they’ve explored sonics and genres throughout their career, taken risks and achieved more than they could ever had dreamed of. They’ve grown up as Boston Manor – their lives and the world changing around them. They’re now taking stock, at a crossroads of the band they were and the band they could be.
While writing the album, they revisited the bands that shaped them in the late 90s and early 00s. “I was listening to the music I loved when I was a teenager and I just thought, why don't we make music like our favourite bands?”, guitarist Mike Cuniff remembers with a smile. “So we brought our interests to the table that way. Y2K kind of vibe. There are elements of Deftones, there are elements of Portishead in there, some Garbage, The Cardigans.” He laughs and adds NSYNC to the list of inspirations. From this cocktail of classics comes a dynamic and ambitious record, rich with depth, groove and more hooks than Peter Pan’s nightmares. Lyrics that foxtrot from parallel universes to personal growth, vivid dreamscapes to raw grief. Individually they’re single strokes full of meaning and magic. Together they’re a landscape.
Container (out Feb 15th) is the first single and it’s them at their best – impassioned and infectious. “This song is about the stagnancy of life creeping up on you & how that can bring about change.,” Henry explains, citing Ocean Song by US band Daughters as an inspiration.

The concept of the butterfly effect is present on Sundiver – how small actions can lead to big changes. This is no clearer than on their second single, Sliding Doors (out April 5th). It has the golden sound of late 90s Lollapalooza rock – think Smashing Pumpkins - rebooted with crisp 2024 production and a potent heaviness. In the lyrics Henry wonders, what if?, pondering on what could be. The idea that there are infinite versions of you whose lives splinter off in different directions at every decision you make. That there’s another you out there somewhere right now reading this sentence, and another me writing it. “So much is down to chance and circumstance,” Henry says. “You might catch that train and your life totally changes. Or you might miss it and things stay the way they are.”
Heat Me Up (out May 30th) is defiant and victorious, the audio equivalent of quitting your shit job and driving into the hot summer sun with a head full of dreams. “The lyrics are about love and gratitude,” Henry shares. “Another theme on the record is just appreciating what you have. It’s about not taking for granted the things that you've been afforded.”
There was some natural magic in the creation of Sundiver. They worked with their usual producer, Larry Hibbitt, and engineer, Alex O’Donovan, but instead of recording in London again they ended up in the green pastures of Welwyn Garden City. “Because Larry lives out in the countryside now, it was a way different environment and way different experience recording this time,” Mike remembers. “That contributed a lot to the brighter sound of the record.” The daily barbecues they had during their recording sessions imbued the process with harmony – five old friends spending quality time together and making quality music.
However, the album is by no means one-note. Birthing this new world they’ve created wasn’t without it’s pain, and that can be heard in the heavier moments on Sundiver. What Is Taken Will Never Be Lost is the most-stripped back on the album, a slow rock number seasoned with the downtempo Portishead influence. The heartfelt lyrics are Henry’s way of processing the loss of his grandfather, who died in a hospice last year(?). “It was just fucking horrible. It was always cold when I went there and they were always trying to get rid of me. The song title, What Was Taken Can Ever Be Lost, is the idea of his memory fading at the time because of dementia.” Henry goes onto explain that shoeboxes of photographs, diaries and a legacy is what he’s left behind. “He lived a really rich life and it has really impacted me and my father. His legacy is etched into the fabric of history in a very small way.” This song continues the connection between his grandfather and the band, as his painted face is emblazoned on the cover of the very first Boston Manor EP, Driftwood. As well as emotionally heavy themes, there’s heaviness in the music of Sundiver too. The closing song, Oil In My Blood, descends into an intense shoegaze outro with Debbie Gough from Heriot screaming hellfire. It’s in moments like this that the band show us aggression and fury can be as much a part of positive change as quiet introspection. The last lyrics of the song, “It resets and starts again,” leaves us in contemplation as the final chord rings out.
Touring the US, Europe and Japan over the years makes for an impressive CV, but if you know anything about Boston Manor you’ll know that they’re all about their hometown. Their choice to work with Blackpool-based photographer Nick Barkworth is testament to that. They’ve been working with him since the pandemic. “He captures Blackpool in a light that really reflects the weirdness and quirkiness of the town,” Henry says.” He's got a really good way of presenting that.” For the Sundiver cover, Nick photographed a 30ft tall abstract glass sculpture made by the local artist John Ditchfield. A striking and bewitching monolith that’s familiar to them but unusual to most people. “It has such kind of a gravity and power to it,” Henry describes the sculpture which stands in a field just outside of the seaside town. “It reminds me of either an explosion or a star or a supernova. To me it represents new life, power and radiance.” Boston Manor have got a knack for that - connecting the otherworldly and the everyday, the stars and the streets.
They’re a band known for using their music to make bigger statements about society. This time round they’re harnessing the uplifting power of music, and the communion it creates, as an antidote to the daily doom and isolation. “It seems like absolute chaos out there at the moment,” Henry says. “You’ve got Gaza and Israel, you've got Russia, you've got the fact that 40% of the world is going to have an election this year and increasingly most governments are leaning very far to the Right. The internet is dividing everybody, people are getting poorer and more desperate. It's really, really scary.” They considered trying to tackle the weight of it all in their music. “We could’ve written Welcome to the Neighbourhood on steroids, where it's just absolute darkness and misery”. He’s referring to their 2018 concept album that deals with class, inequality and the bleaker side of Blackpool. “But I think it's really important to write something that people can be immersed in and find some sort of solace in. Somewhere they can escape to from the modern day pressures and everything that’s going on. We’re all in this together.”

Introducing John Prine ‘Now Playing” on Cobalt Blue vinyl - This ‘Now Playing’ John Prine's tracklist features a collection of deeply personal and storytelling songs that span folk and country genres. Tracks like "Illegal Smile" and "Angel from Montgomery" showcase his ability to craft vivid narratives, while songs like "Paradise" and "Fish and Whistle" add a touch of humor and charm. This compilation is a testament to Prine's songwriting prowess and his enduring impact on folk and country music.

a a1. ILLEGAL SMILE [3:10]
[b] a2. PARADISE [3:10]
[c] a3. ANGEL FROM MONTGOMERY [3:43]
[d] a4. THE GREAT COMPROMISE [4:57]
[e] a5. SWEET REVENGE [2:58]
[f] b1. PLEASE DON’T BURY ME [2:47]
[g] b2. SADDLE IN THE RAIN [3:30]
[h] b3. THAT’S THE WAY THAT THE WORLD GOES ‘ROUND [3:19]
[i] b4. FISH AND WHISTLE [3:13]
[3:37]

Introducing Gram Parsons ‘Now Playing” on Light Blue vinyl - Dive into the timeless sound of Gram Parsons with this captivating tracklist that effortlessly blends country, rock, and folk influences. From the heartfelt melodies of "A Song for You" to the lively rhythms of "Ooh Las Vegas," each track is a testament to Parsons' musical genius and enduring legacy in Americana music.

a a1. STILL FEELING BLUE [2:38]
[b] a2. A SONG FOR YOU [4:57]
[c] a3. SHE [4:55]
[d] a4. THE NEW SOFT SHOE [3:52]

[f] b1. HEARTS ON FIRE [3:50]
[g] b2. BRASS BUTTONS [3:27]
[h] b3. $1000 WEDDING [5:00]
[i] b4. LOVE HURTS [3:40]
[3:29]

Tauchen Sie ein in die Welt des Rockabilly und Rock ‚n‘ Roll mit
der ultimativen Sammlung der größten Hits von Carl Perkins.
Diese Vinyl bietet nicht nur eine Auswahl der größten Hits
von Carl Perkins, sondern auch eine Klangqualität, die die
Authentizität und den Charme der Originalaufnahmen bewahrt.
Carl Perkins, oft als „King of Rockabilly“ bezeichnet, war
einer der einflussreichsten Musiker seiner Zeit. Mit seiner
einzigartigen Mischung aus Country, Rhythm and Blues und
Rock ‚n‘ Roll prägte er das Genre maßgeblich. Seine Musik
inspirierte zahlreiche Künstler, darunter die Beatles, Elvis
Presley und Johnny Cash

Dawson’s latest offering, The Tinnitus Chorus, is an album of wide-eyed collaborations. He is joined by an inspired cast of revered friends and kindred strangers including Suso Saiz, M. Sage (Fuubutsushi), Eli Winter, K. Freund, (Trouble Books / Lemon Quartet), Dasom Baek, Lina Langendorf (Langendorf United), Vumbi Dekula, Jairus Sharif, Yutaka Hirasaka, and his bandmates in Peace Flag Ensemble. The collection is bookended by two pieces with Michael Grigoni. From birdsong and decaying tape to Western sprawl, each of Dawson’s previous solo records have moved in a singular direction but here he approaches things through a kaleidoscopic lens. While his weathered ambient sketches serve as a through line, they are woven with all manner of instrumentation from clarinet and modular synth to steel guitars and flugelhorn. Improvised Congolese guitar nuzzles next to American experimental folk. Handmade electronics give way to spiritual sax. M. Sage contributes something referred to as a “mystic music box”. The result is a strange and beautiful journey that feels lost between genres and yet wholly unified. Dawson reflects on the genesis of album with a smirk and a shrug. He has been marred by ear troubles in recent years and had been struggling to complete an album of solo material. The clicks, ringing tones, and hiss in his ears had been drowning out the ringing tones, clicks, and hiss in his studio. When he reached out to We Are Busy Bodies to provide an update on the record he was met with an unsuspecting proposal that perhaps he shift focus to an album of collaborations. The truth is he had been ruminating on the idea for years and the nudge from WABB proved to be the motivation he needed to shelve his insecurities and invite artists he admires to join him for The Tinnitus Chorus.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Acclaimed Canadian indie folk trio Wild Rivers presented nine undeniable and unforgettable tracks on their self-titled debut in 2016. “Wandering Child,” “Heart Attack,” and “Speak Too Soon” instantly reacted with audiences everywhere, continuing to generate tens of millions of streams. It attracted widespread tastemaker praise. The Line Of Best Fit enthusiastically asserted, “Together, the band create dynamic, intimate and heart-rending indie-pop that lays brutally bare lyricism over rich and emotional melody.” Now available on vinyl with the previously unavailable track “Fish On A Hook.”

Schmeiß alles hin und werd PRINCIPESS! PRINCIPESS. Das sind die drei Musikerinnen Maria Moling, Julia Viechtl und Teresa Staffler. Schlagzeug, Bass und Orgel. Alle singen. Irgendwo zwischen feministischem Kraut Pop und Italo Post Wave einzuschubladen. Oder Italo Kraut Pop Deluxe. München als nördlichste Stadt Italiens ist dafür die Wahlheimat. Selbstbewusster Sound, der genau so nur in Alpennähe entstehen kann. Die PRINCIPESS-Themen: Feminismus. Mansplaining as its best. Gender Pay Gap. PMS. Hormone. Sexismus. Keine neuen Themen? Leider nein. Aber dafür immer noch viel zu aktuell. Am eigenen Leib haben die drei oft genug die strukturellen Probleme des Patriarchats - auch in der Musikbranche - gespürt. Sie sind wütend. Und das hört man. Ungeschminkt und unrasiert. Auf italienisch und auf Deutsch, im Sprachenmix, ganz im europäisch grenzübergreifenden Sinne, denn sie sind Freundinnen der Interkulturalität und Grenzenlosigkeit.

Between December 2022 and January 2024, the collective De Niemanders (producer Rick Wiegerinck joined the team) visited asylum seekers' centers in the Netherlands with a mobile studio, searching for singers, musicians, and their music and stories. The music sessions were mostly filled with pure joy, while the conversations were heavy, hopeless, hopeful, cheerful, and everything in between. The collective connected with creative individuals from all over the world, who in turn introduced them to even more artists, writers, and storytellers. Rocco, Wout, and Rick quickly realized that they needed to offer more than ‘just’ the music album as a platform, so a completely unique Niemanders newspaper was born, and journalist Christianne Alvarado joined for a six-part podcast series.

Following their instincts, they created a new Niemanders album that became a genuine collaboration between the people they met and themselves. A significant difference from the prisons was that this time, the singers and musicians could be recorded in a mobile studio. As a result, the album is a mix of many singers and languages, telling the stories of their journeys, dreams, families, past lives ‘back home,’ and their current situation as refugees. There are songs inspired by the stories that residents of asylum seekers' centers told or wrote down, sung by Rocco, while other tracks emerged from writing sessions with singers Isma IP, Guy-El Mabiala, Q-Mars, and Hamid Reza Behzadian, and are also sung by them. The song material is a creative melting pot of colorful music that ranges from swinging afrobeat, highlife, desert rock, and rootsy psychedelia, but the alternative rock for which Ostermann and Kemkens are known also seeps through. You could say that, with few exceptions, each song is a film soundtrack for the text.

Unfortunately, the harsh reality of asylum procedures also intruded into some of the blossoming musical friendships. Due to a negative decision by the Immigration and Naturalization Service (IND), one of the great singers was forced to leave the Netherlands. This is just one example of the lack of control over—and the nerve-wracking wait for—an IND decision, which unfortunately seems to be something every person in an asylum procedure must endure. The asylum process can bring years and years of uncertainty and waiting, or sudden deportation.

The "Not The Way" EP is the first ever release by Cass McCombs, a record that marked the beginning of a long career which has seen him rise to being seen as one of the most important songwriters of his generation. A self-recorded 6-track EP originally released on CD, it"s finally getting its first ever 12" pressing, having been remastered at Abbey Road.

George Strait kommt zurück mit seinem 31. Studioalbum Cowboys And Dreamers!
Als der unangefochtene König der Country-Musik hat George Strait mehr als 105 Millionen Alben verkauft
und über 60 bedeutende Unterhaltungsindustriepreise sowie unzählige Nominierungen erhalten. Zudem ist
er der einzige Künstler in der Geschichte, der über drei Jahrzehnte hinweg jedes Jahr einen Top-10-Hit hatte.
Zum Album findet der Hitmacher folgende Worte: „Ich widme diese Platte meinem langjährigen Manager und Freund Erv Woolsey und meinem langjährigen Fiddleplayer und Freund Gene Elders, die am
selben Tag, am 20. März 2024, gestorben sind sowie meinem langjährigen Freund und Roadmanager Tom
Foote, den wir am 29. April 2024 verloren haben. Ich werde all die schönen Zeiten, die wir zusammen
hatten, nie vergessen. Mögen sie in Frieden mit unserem Herrn Jesus Christus ruhen.“

Die Cardigans-Compilation-Alben „The Rest Of The Best“, Vol. 1 & 2 umfassen einige der Aufnahmen
der Band, die zwischen 1994 und 2006 als B-Seiten auf Singles, Soundtracks und als Bonustracks auf
japanischen, französischen und britischen Versionen ihrer Alben veröffentlicht wurden. Volume 1 umfasst
20 Tracks und Volume 2 rundet das Projekt mit weiteren 16 Tracks ab.
Das Artwork basiert auf Fotos des Fotografen Martin Bogren, der von Anfang an mit der Band zusammengearbeitet hat. Die 1CD-Version enthält ein 16-seitiges Booklet, die 2LP Formate sind auf 140g
schwarzem Vinyl gepresst.
„Wir freuen uns sehr, diese Compilations zu veröffentlichen. Songs, die aus verschiedenen Gründen nicht
auf unseren Studioalben zu finden waren. Jetzt kann unser Publikum alle B-Seiten in chronologischer
Reihenfolge durchhören, und es ist eine reine Freude, in Erinnerungen zu schwelgen, bis zurück ins Jahr
1993. Es ist fast wie eine vergessene Platte, oder besser gesagt vier. Wir hoffen, dass ihr die 13-jährige
Reise genießen werdet!“ - Die Cardigans
Beide Alben wurden von The Cardigans zusammengestellt und von Ryan Smith bei Sterling Sound remastered und sind ab dem 06.09 überall erhältlich.

Die Cardigans-Compilation-Alben „The Rest Of The Best“, Vol. 1 & 2 umfassen einige der Aufnahmen
der Band, die zwischen 1994 und 2006 als B-Seiten auf Singles, Soundtracks und als Bonustracks auf
japanischen, französischen und britischen Versionen ihrer Alben veröffentlicht wurden. Volume 1 umfasst
20 Tracks und Volume 2 rundet das Projekt mit weiteren 16 Tracks ab.
Das Artwork basiert auf Fotos des Fotografen Martin Bogren, der von Anfang an mit der Band zusammengearbeitet hat. Die 1CD-Version enthält ein 16-seitiges Booklet, die 2LP Formate sind auf 140g
schwarzem Vinyl gepresst.
„Wir freuen uns sehr, diese Compilations zu veröffentlichen. Songs, die aus verschiedenen Gründen nicht
auf unseren Studioalben zu finden waren. Jetzt kann unser Publikum alle B-Seiten in chronologischer
Reihenfolge durchhören, und es ist eine reine Freude, in Erinnerungen zu schwelgen, bis zurück ins Jahr
1993. Es ist fast wie eine vergessene Platte, oder besser gesagt vier. Wir hoffen, dass ihr die 13-jährige
Reise genießen werdet!“ - Die Cardigans
Beide Alben wurden von The Cardigans zusammengestellt und von Ryan Smith bei Sterling Sound remastered und sind ab dem 06.09 überall erhältlich.

Pour Un Homme Seul, the debut EP from Pete Beardsworth, is a cathartic exploration of the spiritual world of jazz and the healing force within. Originally just simple melodies jotted down in the back of a small leatherbound notebook, the songs were written during a long period of solitude in the year following a traumatic accident that left Pete without the bottom parts of his legs. Charting a journey of hope and rediscovery, the tracks are aural fragments of a voyage through a harsh, personal wilderness, and back again to civilization and consciousness. This voyage is painted with woodwind, electronics, vocals, found sounds, and synthesizers provided by Pete.

Accompaniments by renowned Erhu player Ling Peng, Yazmin Lacey's drummer Tom Towle, guitarist Roshan Gunga, bassist George Butt, and vocalist Daisy Godfrey. It follows long-standing collaborations with Yazmin Lacey, for whom Pete produced EPs Black Moon and When The Sun Dips 90 Degrees, the genre-crossing Invisible Orchestra, Brooklyn's own Chris Rock, and work as part of free-jazz inspired electronic outfit Three Body Trio.

Stretching genre and medium boundaries, 'Being Waves' leads listeners to explore their own concepts of reality and perception. The new record marks an evolution from Kinkajous' acclaimed debut, Hidden Lines (2019, Running Circle). This release, engineered by long-term collaborator Brendan Williams, gives life to a wide aural landscape made up of rich and diverse musical influences. With its blend of acoustic and orchestral instrumentation, analogue synthesis and sampling processes, there is an elaborate yet organic feel to the music that makes Being Waves the five-piece band's most introspective work to date.

Led by drummer/producer Benoît Parmentier and saxophonist/clarinetist Adrien Cau, Kinkajous have earned a reputation for conjuring up a powerful and cinematic sound, being described by CLASH as "a key part of the British music landscape". Joined by Jack Doherty (synths), Maria Chiara Argirò (keys) and Andres Castellanos (bass), this album is exhilarating yet intimate, reflecting the band's outstanding musicianship and versatility.

Die ungeschlagenen Glam Punk und Bubblegum-Champs aus der Schweiz sind zurück und bringen euch mit Power Pop Stick, haarigem, seifengewaschenem Rock'n'Roll und echtem Hippie-Scheiss um den Verstand! Mit Mitgliedern von The Jackets, Dead Bunny und Lovers. THE BUDGET BOOZERS ist eine anonyme Schweizer, (Umfeld Solothurn,Bern), schwere Alkoholikergruppe mit dem Hang zum Glam Rock, und zur gitarrenlastigen Bubble Gum Pop Musik, und spielen auch noch mit ihren anderen Bands ,The Jackets' ,The Lovers' oder den Post-Punks ,Dead Bunny'. haben sich aber seit 2005 entschlossen ein eigenes GLAM-PUNK Universum zu gründen mit dem Fixplanet the BUDGET BOOZERS mitten drin freche Poesie und haariger Rock'n'Roll! Real Hippie Shit For Real Punks! für dieses ihr jetzt drittes Album (die ersten zwei haben sie selbst herausgegeben). Love you, Hate you sind sie ins Berner Strawberry Studios zu Sebastian Zwahlen gegangen und hauen dir 10 Pop-Punk Glam Bubblegum Hits um die Ohren, dass man kaum mehr geradeaus gucken kann, am Schluss wurde es noch von Jim Diamond (The Sonics, Dirtbombs, White Stripes) abgemischt und gemastert. Auf der Platte sind alles Original-Kompositionen, darunter "Für immer", das auf Schweizerdeutsch gesungen ist, und für ihren Hit "Dignity" haben sie einen tollen Videoclip gedreht.

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

Maurizio 'Angus' Bidoli's brilliant 'Diary Of Dreams' was issued in 1998 as a very limited CD only release given to friends and colleagues. It has never been re-issued, and therefore this is its’ first ever appearance on vinyl and official CD. Angus is a native of Rome, and has played guitar with many bands, most notably the Italian metal outfit Fingernails. However, his love for the trippier, Hendrix-inspired psych jamming has manifested itself in several solo projects, and this is a great example of that. Angus plays all the instruments on this outing, and it's his wonderful guitar playing that comes to the fore. Blue Matter are genuinely thrilled to be able to make this great album available for the first time in 25 years. We've been fans of Angus since we met him at a gig in Rome in the early 90s, and he gave us a cassette of some of his solo psych jamming. To share his talent with other like-minded souls is something we’ve wanted to do all that time, and finally we’ve been able to put out one of his projects. We truly hope you enjoy it.